tk dae 


RITUAL AND 
DRAMATIZED FOLKWAYS 


RITUAL AND 
DRAMATIZED FOLKWAYS 


FOR USE IN 


CAMP, CLUB, RELIGIOUS ASSEMBLY, SETTLEMENT 
AND SCHOOL 


WRITTEN AND ADAPTED 


BY 


ETHEL REED JASSPON 


AND 


BEATRICE BECKER 


ILLUSTRATED BY 
ALBERT R. THAYER 


New York 
THE CENTURY CO. 
London 


é 


x 


rm 


bral 


y 


; ; Sy aa ; = eo 
eS: 2 ee ; vs 
oe eae ) as : 
ets a 3 . be 
> Jeo 5s =st\ f e 


O Child, I have so much to leave thee,— 
The traffic in dreams, 


The glamour of day 
The splendor of night 
Precious moments slipping away. 


O Child, I say 
I leave the world in thy keeping. 


INTRODUCTION 


In all our ways of getting understanding let us not forget 
our imagination. In using our imagination let us use drama- 
tics—creative dramatics. It is necessary to look, to listen, to 
multiply experience, then to close our eyes and see. This see- 
ing may reveal that all life is dramatic. Youth of all chrono- 
logical ages loves playing a part. This instinctive tendency 
when expressed in dramatic action can create, or foster, the 
desire for worth while material—material that in itself is 
joy-bringing and really educative. 

Such an education will include knowledge, attitudes and 
habits on the part of young people. Unfortunately there is 
very little simple, direct, dramatic material available for use 
in school, camp, church, settlement or club that in itself is 
worth while and that at the same time fosters the creative 
impulses of young people in this direction. 

There are many sources of material, but certainly one of 
the most important lies in the ideals of a people as preserved 
in their Ritual. All peoples in their onward march have their 
ceremonials. Youth loves ceremonials. The question is shall 
we use this desire to develop desirable knowledge, appreciation, 
mental and emotional attitudes and habits on the part of youth 
or shall we neglect the important aims of education? 

A second source of material lies in the little-used resources 


for dramatization of Folk literature. In such literature there 
Vii 


Viil INTRODUCTION 


is a distinctive quality as well as an elemental appeal that lends 
itself easily to dramatic interpretation. 

Any presentation of ideals preserved in Ritual or in Folk- 
ways would fail in one important purpose if it did not leave 
its readers, or better still its interpreters, with a desire to 
utilize other Rituals and other Folkways, that is, a desire to 
do a kind of creating themselves. However, an initial presen- 
tation of material is necessary to create and foster interest, to 
show what can be done and how such materials can be used. 

It is in these kindred fields of Ritual and Folkways 
that Beatrice Becker and Ethel Reed Jasspon in their 
Ritual and Dramatized Folkways have made a selection 
of dramatic material and music that is in itself joy-bringing 
and educative. At the same time the use of this material 
should stimulate the creative impulse of boys and girls and 
adult leaders to discover and develop other material for them- 
selves in these same fields. 

ELBert K. FRETWELL, 
Teachers College, 
Columbia University 


PREFACE 


Dramatization is finding a place of increasing importance in 
the newer project-education which seeks to provide for young 
people real vital experiences in present living. There is pos- 
sibility for creative experience in the choosing or writing of a 
play, the study and making of costumes and stage settings, the 
solving of lighting problems, the varied and invaluable lessons 
which come out of actually working together for a common 
purpose. 

The Ceremonies, Plays, and Dramatized Folkways included 
in this volume have all been tried out and found adaptable to 
the simple costume and stagecraft facilities found in Camp, 
School and Settlement. 

We have used pantomime largely as a most effective medium 
for dramatization. Where the Reader carries the thread of 
the story we do away with the memorizing of lines and provide 
release for those whose self-expression is hampered by the 
spoken word. More children may share in the joyous experi- 
ence of “being in a play.” 

We wish to thank Mrs. I. Spectorsky for her faith and en- 
couragement of our projects, Emma Sheridan Fry for her 
valuable criticism, and Minya Hirsh who helped with the 
selection of music. 

We wish also to thank the following publishers and authors 


who have permitted quotations from their publications: 
1x 


x PREFACE 


Robert Haven Schauffler: Gate of the West from Scum O’ 
the Earth” 

G. P. Putnam’s Sons: The Happy Prince from The Happy 
Prince and Other Stories, Oscar Wilde 

The Penn Publishing Co: Derriére Chez Mon Pere from Old 
Songs in French and English 

Small, Maynard & Company: Salut au Monde from Leaves 
of Grass, Whitman; The Omaha Tribal Prayer from 
Indian Song and Story, A. C. Fletcher 

The Century Co: The Flag, Franklin K. Lane, from Services 
For the Open, Mattoon Bragdon; The Crusade of the 
Children, Elisabeth Woodbridge 

Harvard University Press: Epilogue—Little Clay Cart— 
Ryder 

Hasegawa: Tokyo—Rhymes and Life Scenes of Japan— 
Calendar 1902 

Edwin Markham: The Man With the Hoe 

Carl Fischer: Breiges Dance—Wengerke 


And further we wish to make acknowledgment to all those 
whose quotations, so familiar as to be almost idiomatic, we have 
drawn upon freely. 

ETHEL REED JASPON 
BEATRICE BECKER 


COMPLETE LIST OF MUSIC 


CEREMONY OF FRIENDSHIP 


Tschaikowsky—March from the Nutcracker Suite 

Chopin—Mazurka Opus 33, No. 4—Theme in B Major—3z2 
measures 

Schumann—Finale of Symphonic Etude—16 measures 

Choral Sanctus—Twice 55 Community Songs—Green Book 

These Things Shall Be—Page 14 


FOURTH OF JULY CEREMONY 


America the Beautiful—Twice 55 Community Songs—Brown 
Book 

Indian Dance—Music, Page 32 

Spanish Dance—Moskowski—Opus 12, No. 2 

Tarantella—Folk Songs, Folk Dances and Singing Games— 
Elizabeth Burchenal 

Dutch Dance—Grieg Dances—No. 2 

Marseillaise—Twice 55 Community Songs—Brown Book 

Columbia the Gem of the Ocean—Twice 55 Community Songs 
—Brown Book 

Landing of the Pilgrims—Twice 55 Community Songs—Green 
Book 

True Freedom—Laurel Song Book 

Star Spangled Banner—Twice 55 Community Songs—Brown 


00 
These Things Shall Be—Page 14 


CEREMONY OF LIGHT 


March from Parsifal—Wagner—Page 20 
Chant—Page 21 

Mendelssohn—Consolation—Sleep, Noble Hearts—Twice 55 
Community Songs—Green Book 


RUTH AND NAOMI 
Tschaikowsky—Chanson Sans Parole—Opus 40, No. 6 
xi 


xii COMPLETE LIST OF MUSIC 


FINDING OF THE BABY MOSES 


Tschaikowsky—Autumn 

Vermeland—Page 56 

Beethoven—Fifth Symphony—Part I—4th movement—Finale 
allegro 


THE HAPPY PRINCE 


Grieg: Album 
Little Birdling 
On the Mountain—Opus 19 
Folkweise 
Spring Tanz—Opus 47, No. 6 
Poetic Tone Picture—No. 5 
Heartsease 
Poetic Tone Picture—No. 4 
Skip Dance—Opus. 38, No. 5 
Erotique—Opus 43, No. 5 
Chopin—Mazurka—Opus 17, No. 4 
German—Henry the Eighth—Page 69 


SCUM O’ THE EARTH 


Grieg—Patriotic Song 

Chopin—Mazurka in A Minor—Opus 17, No. 4 
Dvorak—Songs My Mother Taught Me 

Santa Lucia—Twice 55 Community Songs—Brown Book 
Kol Nidrei—Page 88 


FOUR FRENCH BALLADS—Pages 98, 106, 112, 120 
HINDU WEDDING CEREMON Y—Pages 126, 127, 128, 129 
TWO RUSSIAN FOLK PANTOMIMES—Pages 136, 140, 142 
AN ENGLISH BALLAD—Page 149 


JAPANESE CEREMONIES 


Tschaikowsky—Chinese Dance—Nutcracker Suite 
De Koven—Japanese Lullaby 

Japanese Folk Melody—Page 159 

Japanese Folk Song—Page 163 


COMPLETE LIST OF MUSIC xiii 


NEW WINDOWS 


Schumann—Children’s Scenes—Child Asleep 
Palmgren—May Night 

Chopin—Mazurka—A Minor—Opus 17, No. 4 
Grieg—Poetic Tone Picture—No. 4 
Beethoven—Introduction to Sonata Pathétique 
Brahms—Waltz in A Flat 
Beethoven—Presto Movement from Seventh Symphony 


SIMPLE SIMON 


Pieman’s Song—Page 183 
Sunbeam’s Chant—Page 186 


HELPFUL BOOKS 


Costuming a Play—Elizabeth Grimball and Rhea Wells—The 
Century Co. 

A List of Music for Plays and Pageants—Roland Holt—D. 
Appleton Co. 

Folk Songs of Many People—Botsford—z2 Vols.—Woman’s 
Press | 

Leaves From the Golden Bough—Lady Frazer 

Folk Songs, Folk Dances and Singing Games—Elizabeth 
Burchenal—Schirmer 

The Dance in Education—Marsh—A. S. Barnes and Company 


CONTENTS 


PREFACE ° e e e e e e e e e ° te} e 
0 RESETS COTS) 5) acl a0 ee ae ae a 


Part I. CEREMONIES AND DEVOTIONAL PLAYS 


Mere TIP eC CEE MONY ws 6 wis wel 6 ee 
Rm Tere ge) eG eine ee we 
Meee iiy CEREMONY 26 66 4 eg ks 
RutH AND NaoMI—A PANTOMIME . .... . 
FINDING OF THE BABy Moses—A PANTOMIME... 
SeptR Pe BINGE. gee et see el oe i 


Part II. DRAMATIZED FOLKWAYS 


EME MUNV EST ie! a le tg ee oe ee 
Four FRENCH BALLADS a Pte Co Lee 
PATHeR Wishes "Me To MARRY . .. ..- «+ «se 
eee er RINCESSES 6 5 re ee 


me Nor loo HArp To PLease, DEARS . . . . . 
THE KING ORDERS THE DRUMS TO BE BEATEN eiiw. 


Hinpu WEDDING CEREMONY Re ee Ms Masta eer 2 5, 
mapeetan POLK FPANTOMIMES . . << “a « ». “© 
PEASANT BETROTHAL Eee eRe ee Rn RAC ee pe 


PIRNGE OR IRECONCILIATION «45 50 wb el es 


AN ENGLISH BALLAD—THE WRAGGLE-TAGGLE GypPsiEs, O 


Seen OCENES: ¢. sy ce lca le au eee 
Juty--TuHe Feast or LANTERNS . .... . 
AUGUST—SUMMERIN Kyoto ...... . 


xV 


[* 


vil 
ix 


102 
110 
116 
125 
133 
135 
139 
147 
ISI 
154 
159 


Xvi CONTENTS 


SEPTEMBER—IHE FEAST OF THE CHRYSANTHEMUMS 
AT THE TEMPLE GATE—PANTOMIME 


Part III. ALLEGoRIES 


NEw WINbDows—-A PANTOMIME ra) 
SIMPLE SIMON—A PLAYLET . . . 2. e« -« 


PAGE 


. 263 
eh 8 


Cio 
SE 


SL AGE DIRECTIONS 


The positions on the stage or floor are described as follows: 
Center stage 
Up stage—to the back of stage 
Down stage—to the front of stage, or toward audience 
Left—left of audience when facing stage 
Right—right of audience when facing stage 
Floor space—hall floor between audience and stage 


Steps—leading from stage to floor space 


PART 


Ceremomes and Devotional Plays 


i 


Tn, 


a 
7 


i? 


shale 


om 


FRIENDSHIP CEREMONY 


THE PLAYERS 


LABOR 
SCIENTIST 
STATESMAN OF THE WORLD 
GUARDIAN OF HEALTH 
EDUCATION 
Music 
SCULPTURE 
PAINTING 
PoET 
HUMANITY 
VOICE 
CHILDREN OF ALL PEOPLES: 

AMERICAN 
ENGLISH 
FRENCH 
RUSSIAN 
AFRICAN 
SPANISH 

PORTUGUESE 
PERSIAN 
CHINESE 
JEWISH 
ARMENIAN 
JAPANESE 
DutTcH 
EsKIMO 


FRIENDSHIP CEREMONY 


This ceremony presents the idea that the best contribution of 
each individual enhances life for all; that out of the fostering 
of good fellowship, will come a humanity transcending all 
racial distinction. 


ScENE: Dark back-drop; stage, floor-space and center of hall 
are used. 


Music: March, Nutcracker Suite, Tschatkowsky. 
[As curtains are slowly drawn, LaBor 1s seen at center 
back leaning wearily upon lis hoe, recalling Mullet’s 
painting, “The Man with the Hoe.” ] | 


VOICE 


Bowed by the weight of centuries he leans 
Upon his hoe and gazes on the ground, 
5 


CEREMONIES AND DEVOTIONAL PLAYS 


The emptiness of ages in his face, 

And on his back the burden of the world. 

Who made him dead to rapture and despair, 

A thing that grieves not and that never hopes, 
Stolid and stunned, a brother to the ox?.. 

Whose breath blew out the light withir his brain? 


[Music continues as Lazsor haltingly takes position to 
left, as indicated in stage diagram, page 16. Enter 
ScIENTIST, left, with telescope or other symbol of his 
craft. He comes down stage to center front. | 


SCIENTIST 

Through changing cycles unceasingly I go, 

Striving to banish human ill and woe, 

In quest of knowledge, 

Truth my goal. 

[SctENTIstT takes position as in diagram. Enter Guar- 

DIAN OF HeEattu, left. She stands center front as 
ScIENTIsT greets her. | 


SCIENTIST 
A lady with a lamp shall stand, 
In the great history of the land, 
A noble type of good 
Heroic Womanhood. 
[GUARDIAN oF HeEaAttH takes place. See diagram.) 
Enter EpucaTION, left, carrying scroll. She comes 
center front. | | | | 


FRIENDSHIP CEREMONY 7 


SCIENTIST 
Lo, Education speaks. 


EDUCATION 
Come and give me a hand then, 
And I will give you a mind, 
A place for your feet to stand then, 
Which only the wise can find; 
So in the dwellings of mortals 
Forgiveness shall spring like grass, 
And love be a light in your portals, 
And sorrows as winds that pass. 
[Each character extends hand in greeting. SCIENTIST 
leads EpucatTion to her place.]| 
Music: Mazurka, Opus 33, No. 4. Theme in B Major. 
Chopin. 
[Characters withdraw to left to make place for the Arts, 
who enter right. Music enters playing on her lute. 
She speaks as 1f to herself. | 


Music 

The soul of music slumbers in the shell 

Till waked and kindled by the Master’s spell; 

And feeling hearts, touch them but rightly, pour 

A thousand melodies unheard before. 

[Music takes her place, right. Enter, right, the other 
ARTS: SCULPTURE, carrying an unfinished clay figure ; 
PAINTING, with palette and brush; Poet, carrying 
scroll. EDUCATION, stepping forward, apostrophizes 
them. | 


8 CEREMONIES AND DEVOTIONAL PLAYS 


EDUCATION 
Spirit of Beauty, that dost consecrate 
With thine own hues all thou dost shine upon 
Of human thought or form. 


Music: March, Nutcracker Suite, Tschaikowsky. 
[Enter STATESMAN OF THE WORLD, carrying portfolio. 
He walks to center front, and speaks as 1f glumpsing a 
vision of anew world. End of music. ] 


EDUCATION 
Welcome, Statesman of the World. 


STATESMAN 
I dipped into the future, far as human eye could see, 
Saw the Vision of the world, and all the wonder that would 
per ins: 
Till the war-drum throbbed no longer, and the battle-flags were 
furled, 
In the Parliament of man, the Federation of the World. 
Music: Finale, Symphonic ‘Etudes, Schumann. 

[Humanity appears at left of hall. With dignified 
bearing, she comes up aisle through audience. All 
characters extend arms in greeting. STATESMAN goes 
to center of floor-space to meet HUMANITY. He escorts 
her to center of platform. | 


STATESMAN [S peaking for all] 
We salute thee, Humanity, 


FRIENDSHIP CEREMONY 9 


Each of us and all of us, 
Consecrating ourselves to thee. 

[ All extend arms in consecration. | 
Each of us living in thee, 
Making thee great 

Only as we are great. 


HUMANITY 
My thankfulness is deep and great; 
You have found life’s true purpose. 
Now you see 
It is not chaos or death; 
It is plan, union, form; 
It is eternal life; it is happiness. 
[Port, inspired to speak his newly created poem, steps 
forward, and appeals to audience. | 


PoET 

If brotherhood were understood, 

If we but knew, would but believe, 
It is to live, 

It is to give, 

Not caring what we shall receive. 
*Twould touch all lands, 
’Twould clasp all hands, 

In common hope for common good, 
A world made new, 

God’s dream come true, 
If brotherhood were understood. 


10 CEREMONIES AND DEVOTIONAL PLAYS 


Music: Finale, Symphonic ‘Etudes, Schumann. 
[Enter CHILDREN oF ALL PEOPLES, one file night and 
one file left of audience. (See diagram.) WUMANITY 
descends one step. Children group on floor-space. | 


POET 
In hearts too young for enmity, 
Here lies the way to make men free. 
When children’s friendships are world wide, 
New ages will be glorified. 
Let child love child, and strife will cease; 
Disarm the hearts, for that is Peace. 

[Port steps back to position. | 


Humanity [Addressing CHILDREN OF ALL PEOPLES| 

You, whoever you are! 

You daughter or son of England! 

You Frenchman of France! 

You of the mighty Slavic tribes and empires! you Russ of 
Russia ! 

You dim-descended, black, divine-souled African, large, fine- 
headed, nobly formed, superbly destined, 

On equal terms with me! 

You Spaniard of Spain! You Portuguese! 

You beautiful-bodied Persian, at full speed in the saddle, 
shooting arrows to the mark! 

You Chinaman and Chinawoman of China! 

You Jew journeying in your old age through every risk, to 
stand once on Syrian ground! 


FRIENDSHIP CEREMONY II 


You thoughtful Armenian pondering by some stream of the 
Euphrates! | 

You foot-worn pilgrim welcoming the far-away sparkle of the 
minarets of Mecca! 

You Japanese man and woman! 

And you, each and everywhere, whom I specify not, but in- 


clude just the same! 
Health to you! Good will to you all! 


Each of us inevitable; 

‘Each of us limitless—each of us with his or her right upon the 
earth; 

Each of us here as divinely as any is here. 


[Turning to STATESMAN OF THE WORLD. | 


O Statesman of the World, bring me my banner of Friendship. 
[STATESMAN brings white flag bearing a dove as tts crest. 


Humanity unfurls flag. ] 


HUMANITY 
Children of the World, take this flag, a symbol of my most | 
precious gift, the gift of Friendship through Understand- 
ing. 
[As the flag is passed, Choral Sanctus 1s chanted by two 
sopranos, substituting the following words. | 
Peace, peace, blessed peace, 
Peace, peace, blessed peace, 
Peace, peace, blessed peace, 
Peace through understanding. 
[AMERICAN CHILD takes flag and turns to audience. She 
speaks in spirit of consecration. | 


#2 CEREMONIES AND DEVOTIONAL PLAYS 


AMERICAN CHILD 

We will carry the message into all the homes 

Of France, of Italy, everywhere. 
Carry it into the hearts 

Of all the children waiting there. 
We go forth, Child Crusaders, as we must; 
It matters not what shall befall our bodies, 
Our spirits go crusading down the ages, 
Calling to all the children of the world. 
And all the children of the world shall hear. 
I see them listening, those far-off children; 
I see them thronging, eager, radiant; 
Our songs are blowing to them down the wind 


Of time, and faintly up the wind comes back their greeting. 


They are waiting, 
We shall join them, 
The Children of the World shall save the world. 


[With exalted bearing, AMERICAN CHILD followed by the 
other children, HUMANITY, etc., march in procession 


about hall, and exit to the outdoors. | 
[Assemblage sings] These Things Shall Be— 


COSTUMES 


Lazor: Overalls; work shirt; heavy shoes. 

SCIENTIST: Laboratory coat. 

STATESMAN: Long frock-coat; stiff white collar; black tie. 

GUARDIAN OF HEALTH: Costume of Red Cross nurse. 

EpucaTIon: College cap and gown. 

Music: Clinging gown of gray cheese-cloth or canton flannel, 
Grecian effect; head-band. 

SCULPTURE I Smocks of blue and tan; flowing Windsor 

PAINTING ties ; soft tams. 

Poet: Short Grecian toga (unbleached muslin with border 
of Grecian design) ; wreath of gold leaves (gilded oil- 
cloth). 

Humanity: White draped gown of cheese-cloth; silvered 
head-band. 

AMERICAN CHILD: Simple white dress; band of red-white- 
and-blue bunting, draped over left shoulder and fast- 
ened at waist. 

CHILDREN OF ALL PEOPLES: See costume-book for charac- 
teristic national costume. 


3 


These Things Shall Be 


Music by GrRIFFISs 


1. These things shall be, a 
2. They shall be gen - tle, 


loft - ier race than e’er the world hath known shall rise 
brave and strong, to spill no drop of blood, but dare 


flame of freedom in their souls And light of knowledge in their eyes! 
that may plant man’s lord-ship firm, On earth, and fire, and sea, and air! 


ae \o gs 8 gs ms WEDS" ENT REAM Ine OS ye 
BS 


in gg 


These Things Shall Be—Concluded 


Te es Beer TE 
2 BLE BEA" PERRI 


a i gg eh gp 
ko} — gg AES ES 1S JSS TES A EES SRA EE Fa 
Jot Ue Se aT ASS BER 


Na - tion with na- tion, land with land, Un-armed shall live as 
New arts shall bloom of loft - ier mould, And might-ier mu - sic 


ia (S035 Se a ares ee ee el i Bs De Ras 
L* 073 Cal a Seen BE RE De Ge a ED PO aE | Dee eee 
Dg —— gg + 5 -----g - JESSE 2) - ae | eee 
(Ni IS Bee ee BS eee eee LG Gy Faas 

$$ $:* > he oe: : 


com-rades free. In ev - ’ry heart and brain shall throb, The 
thrill the skies, And ev - ’ry life shall be a song, Where 


pulse of one fra-ter-ni- ty! 
all the earth is par -a - dise! 


CHILDREN OF ; =m, CHILDREN oF 
ALL PEOPLES a oN ioe ALL PEOPLES 
®, 
wv 
Lee S tess 
Pad “ 
ef A 
oor e; a 
a. 
— > 
STAGE DIAGRAM 
1 Lazor 6 SCULPTURE 
2 SCIENTIST 7 PAINTING 
3 GUARDIAN OF HEALTH 8 Port 
4 EDUCATION Q STATESMAN OF THE WORLD 
5 Music 10 HuMANITY 


16 


a 
i 
; gore 
v 2 : ae 
i) ‘ , 
’ i | i; (- 
‘ } F 
‘ ; fin } ) wy 
~ Yaa ' 
\ ’ 
‘ 
\ 
. 
Fi 
‘ 
i 
. 
. 


. 
7 
y 
a 
’ 
’ 
‘ . 
. 
e =f ’ 
’ 
F a 
i y , 
, ee 
‘ ste 
? : ae ras 
: : 
j 
é 
4 ‘ 
ae . L #4 . 
Nae eyAca ols 4 
Ont Rites OA eee 


Site ort ge 
ee Uy ae “OL Be Pe 


@ 


THE PLAYERS 


THE SPIRIT OF WOMANHOOD 
SEVEN IDEALS OF WOMANHOOD: 

FAITH 

TRUTH 
Love 

KNOWLEDGE 

HEALTH 

BEAUTY 

SERVICE 

EIGHTEEN BEARERS OF LIGHT (younger girls) : 
THREE SPOKESMEN 
ANTIPHONAL CHORUSES A AND B (Glee-club of 
camp or school) 


THE CEREMONY OF LIGHT 


The transmission of the ideals of Womanhood to Girlhood is 
the theme of the following ceremony. Repetition of word, 
movement, and antiphonal singing give it ritualistic quality. 


SCENE: A back-drop of dark material is used. To right of 
center stage stands a table upon which 1s a Roman lamp. 
To the left stands a candelabrum for seven lights, repre- 
senting the “Tree of light.” The floor-space, steps to 
stage, and center of hall are used. (See diagram page 
27, for seating arrangement of audience.) As curtain is 
slowly drawn, the Spirit oF WOMANHOOD is seen at 
center stage. 
Music: March from Parsifal, Wagner (see page 20). 
[From left and right floor-space enter THE SEVEN IDEALS 
or WoMANHOOD with lighted tapers. They march to 
stage and form a semicircle about SPIRIT OF WOMAN- 


HOOD. | 
19 


RICHARD WAGNER 


March from Parsifal 


CEREMONY OF LIGHT 21 


SPIRIT OF WOMANHOOD 

We see in all light a symbol of the ideals of Womanhood. 
This Roman lamp, your lighted tapers, symbolize the flame of 
aspiration which burns in every heart. The tree of light, bear- 
ing seven candles, symbolize you, the Seven Ideals of Woman- 
hood: Service, Faith, Truth, Love, Knowledge, Health, and 
Beauty. [As each IDEAL is named she holds aloft her lighted 
taper.| Behold! when these candles are kindled into flame, we 


shall have a tree of light, made glorious, to illumine the way 
of life. 


SERVICE 
[Lighting the topmost candle with her taper.] Behold! 
with a spark of aspiration, I kindle my light of Service. 


FAITH 
[Similar action.|_ Behold! with a spark of aspiration, I 
kindle my light of Faith, 
ANTIPHONAL CuHorus [Chanted by two choruses A and 
B, singing antiphonally from diagonal corners of the 
hall. | 


Moderato om A 


CHorus A 
Kindle now the light of Faith, 
For highest service made glorious. 


}: 


22 CEREMONIES AND DEVOTIONAL PLAYS 


TRUTH 
Behold! with a spark of aspiration, I kindle my light of 
Truth. 


Cuorus B 


Kindle now the light of Truth, 
For highest service made glorious. 


LovE 
Behold! with a spark of aspiration, I kindle my light of 
Love. 
Cuorus A 
Kindle now the light of Love, 
For highest service made glorious. 


KNOWLEDGE 
Behold! with a spark of aspiration, I kindle my light of 
Knowledge. 


Cuorus B 
Kindle now the light of Knowledge, 
For highest service made glorious. 


HEALTH 
Behold! with a spark of aspiration, I kindle my light of 
Health. 
CHorus A 
Kindle now the light of Health, 
For highest service made glorious. 


BEAUTY 
Behold! with a spark of aspiration, I kindle my light of 
Beauty. 


CEREMONY OF LIGHT 23 


Cuorus B 
Kindle now the light of Beauty 
For highest service made glorious. 
[Tapers are extinguished and placed on table. Sem- 
circle formation 1s resumed. | 
[Music, March from Parsifal. Enter from right, nine 
BEARERS OF LiGuHT, and from left, nine BEARERS OF 
Licut. They march single file, carrying unlighted 
tapers, meet, and form double file at center. | 


SPIRIT OF WOMANHOOD 
O children, behold this tree of light 
Made glorious by the Ideals of Womanhood. 
Treasure it, take light from it, 
To fire your hearts to noble living. 
“For as one light lights another 
Nor grows less, 
So nobleness enkindles nobleness.” 

[Music, March from Parsifal. SERVICE, leading the other 
IDEALS, takes her light from the candelabrum and goes 
to top of step, center; others follow, same action, and 
take positions as in diagram. Three children from 
each file advance and kindle thewr tapers wn the lights 
of the IDEALS. | 


| First SPOKESMAN 
As ye have received the light from others, 
So do we now receive the light from you. 
As ye pass on the light to others, 
So will we pass on the light to all. 


24 CEREMONIES AND DEVOTIONAL PLAYS 


[Wath lighted tapers, the six children step back into double 
file. Without breaking the continuity, the next six 
take their places in front of the IDEALS and light their 
tapers. | 

SECOND SPOKESMAN 
As ye have received the light from others, 
So do we now receive the light from you; 
As ye pass on the light to others, 
So will we pass on the light to all. 

[The last six, including THIRD SPOKESMAN, repeat the 
foregoing and step back into double file. Simultane- 
ously the SEVEN IDEALS return to the SPIRIT OF 
WoMANHOOD and raise their candles to form a halo 
about her. At this point it is effective for the double 
line to separate, forming a horseshoe of light in center 
of hall. Tuer Brarers oF LicuT. raise thew lhghted 
tapers in consecration to the SPIRIT OF WOMANHOOD. | 

SpiriIr OF WomaANHOop [To BEARERS OF LIGHT] 

Oh, candle gleam, how bright you seem, 
When with your light you further light; 
Begetting love and shedding truth, 
Dispelling all the fear of night. 
THIRD SPOKESMAN 
This gleam continuous burns for thee, 
Reflecting all the soul of thee 
In noble service wrought for thee 
Eternally. 

[Spirit oF WoMANHOOD raises right hand in godspeed to 

BEARERS OF LiGHT, who march with exalted step 


CEREMONY OF LIGHT 25 


about hall and exit right and left, while curtains are 
slowly drawn upon “halo of light.’ | 

[Entire assemblage sings, to tune of Mendelssohn’s “‘Con- 
solation.”” | 


SONG OF DEDICATION 
Faith, Truth, and Love, 
Knowledge, Health, and Beauty, 
To highest Service 
Now we dedicate. 
Till our Ideals shall reign o’er all victorious 
And light of Service lead us on our way. 
Till our Ideals shall reign o’er all victorious 
And light of Service lead us on our way. 


COSTUMES 


THE Sprrir oF WoMANHOOD: Costume suggests symbolic 
figure: white flowing gown falling in graceful folds; 
sandals; silver head-band. 

SEVEN IDEALS OF WOMANHOOD: Costumes of similar design 
dyed in the following colors: SERvicr, yellow; FaiTu, 
green; TRUTH, blue; Love, rose; KNOWLEDGE, purple; 
HEALTH, carmine; BEAUTY, pearl gray. 

EIGHTEEN BEARERS OF LicgHT: Gowns of white cheese-cloth 
or voile; festoons of ground-pine or smilax fastened to 
shoulder and about waist; head-band of ferns (may be 
fastened to band of white elastic) ; sandals. 


Candelabrum may be of wrought iron with floor standard; 
candles, white or ivory. The Roman lamp may be made of 
gilded, stiff paper. | 


} 
' 


ih 


i | hi 


° 


HT 


hd 


%, 
"ORS, ‘L1G 
esvoe of 4 

AUDIENCE 


STAGE DIAGRAM 


qt SprrItT OF WoMANHOOD 6 TRUTH 


2 CANDELABRUM 7 LOVE 

3 TABLE WITH RomAN Lamp 8 KNOWLEDGE 
4 SERVICE 9g HEALTH 

5 FaitH 10 BEAUTY 


27 


FOURTH OF JULY CEREMONY 


THLE: PLAYERS 


CoLUMBIA 
Two PaGEs 
S1x INDIAN BRAVES 
SPANISH MAIDEN 
ITALIAN PEASANT GIRL 
DutcH GIRL 
DutcH Boy 
JOAN OF ARC 
PurITAN Man AND WOMAN 
LIBERTY 
JUSTICE 
INDUSTRY 
EDUCATION 
Pusiic HEALTH 
PEACE 
LEADER AND SIXTEEN AMERICAN CHILDREN 
HIsTORY 
SPIRIT OF THE FLAG 
BUGLER 


FOURTH OF JULY CEREMONY. 


The following ceremony aims to present 
to children something of the origin, spirit, 
and true significance of Independence Day. 
The holiday should not be one of shallow, 
flag-waving patriotism, but rather an initia- 
tion into the meaning of citizenship. 


ScENE: Preferably outdoors, contingent 
upon the position of the flagpole. Stage, steps, and green are 
used. 


Music: Furst and fourth stanzas of “America the Beautiful” 
are sung by the entire assemblage. 


[Introductory measures of “True Freedom” are played. 
Enter Two Paces. They come down steps from cen- 
ter back and take positions on either side of stage. Co- 
LUMBIA enters with great digmty. She comes down 
stage to center front. Music, Indian tom-tom. En- 
ter, from either side of green, S1x INDIAN BRAVES, 
who chant the Omaha Tribal Prayer and greet CoLUM- 
BIA with a native dance. At the conclusion, they stand 
with bowed heads before her. | 


31 


3¢ CEREMONIES AND DEVOTIONAL PLAYS 


The Omaha Tribal Prayer 


Slow, Grave, Solemn Harmonized by Prof. J. C. FILLMORE 
a feocepsa Mall, vib vis 20 
Fe 


sa om a 
area ae eR ee 
fr 9 -@ Ee }-—F | ee 
NWS eee rae we | oF 
mp ——— 


a aS) 
ry 


A ae 
a 
Wa-kon-da 


——————_—__ 
dhe - dhu Wa-pa-dhin 


a - ton-he 
oN 


WY 


ne Sf 
——_ ~ ae 
Wa-kon - da dhe - dhu Wa-pa-dhin 


a - ton - he, 
ye 


COLUMBIA 
I greet thee here, my native sons, 
Ye stalwart Braves, 
My famed first-born. 
[Indians retire, heads bowed, to either side of green 
Music, “Spanish Dance,’ 


in G Minor, Moszkowski. 
Enter, right green, SPANISH MAIDEN, who dances vi- 


vaciously and then bows before COLUMBIA. | 


CoLUMBIA 
Oh, welcome, dark-eyed Spanish maid 
In jewels bright and silks arrayed; 


FOURTH OF JULY CEREMONY 33 


Within your far-rapt seer’s eyes 

I catch the glow of the wild surmise 

That played on Santa Maria’s prow 
When a world from a wave began to rise. 


[Spanish MAatIpEN takes her position beside Indians at 
right. Music, Italian tarantella. Enter ITALIAN PEAS- 
ANT GIRL, left of green. She dances the Italian taran- 
tella and then faces COLUMBIA with arms extended. | 


COLUMBIA 

Oh, it’s hard to foretell what high emprise 

Is the goal that gleams 

When Italy’s dreams 
Spread wing and sweep into the skies. 
Columbus dreamed him a world 

Of wealth and beauty rare; 

From your true son of valor, 

The name Columbia I bear. 


[IraLIAN PEASANT GIRL takes her place beside Indians 
at left. Music, Grieg “Dances,’ No. 2. Enter, left, 
DutcH Girt and Boy. They perform a quaint “uind- 
mill dance’’ and stand before COLUMBIA. | 


COLUMBIA 
Of Knickerbocker folk we read 
In history. 
Their sturdy strength and purpose daring— 
‘Bright their page of glory! 


34 CEREMONIES AND DEVOTIONAL PLAYS 


[ DutcH CHILDREN stand beside ITALIAN PEASANT. GIRL. 
Music, “Marseillaise” is sung by assemblage. JOAN OF 
ARC 1s seen approaching from left of green. With 
noble bearing, she passes in front of stage, holding aloft 
her flag, and takes position to right of green. | 


COLUMBIA 


Welcome to this Festival of Freedom, 
O Maid of Orleans, 

Whose everlasting spirit 

Lives in the hearts of men, 

Kindling anew 

Their faith and failing courage 

To dare for liberty. 

[Joan takes her place at right of SpANisH MAIDEN, 
Music, Landing of the Pilgrims. Enter from right of 
green, PurIrAN Man AND WoMAN reading from a 
prayer-book. They kneel before COLUMBIA. } 


CoLUMBIA 


Ye have crossed the ocean wide, 
Upon a holy mission bound; 
A shrine of faith and liberty, 
Freedom in worship here to found. 
[Music, “Columbia, the Gem of the Ocean,” first verse, 
is sung by assemblage as PuRITANS step to left of 
green. | 


FOURTH OF JULY CEREMONY ate 


| First PAGE 
See, Columbia, who come to keep festival with us. 
[Announcing each player who enters from back stage. 
(See diagram page 41) | 
Liberty, Justice, Industry. 


SECOND PAGE 
Education, Public Health, Peace. 


COLUMBIA 
All thrice welcome at our festival. 

[Music, “True Freedom.’ Procession of LEADER and 
SIXTEEN AMERICAN CHILDREN enter from right of 
green. They advance by twos, lay their offering of 
field flowers at CotumBta’s feet, and take position as 
shown in the diagram. | : 


LEADER 
A floral tribute here we bring to thee, Columbia. 


COLUMBIA 
My daughters true, 
Gracious are all your ways, 
Joyous be all your days. 
Look upon fair History’s page, 
And may yours be a nobler age. 
[History enters from center back, comes to right of 
CoLumBIA, and reads from her scroll. | 


36 CEREMONIES AND DEVOTIONAL PLAYS 


HISTORY 
Of Roger William’s faith I tell, 
Vision true that knew 
So well 
How for man to make secure 
Freedom of conscience 
To endure 
The test of time. 


COLUMBIA 
Tell our children, History, why we are gathered here to-day. 


HISTORY 
On the Fourth of July, 1776, the representatives of the 
United States of America, in Congress assembled, declared that 
“these united colonies are, and of right ought to be, free and 
independent States.” This anniversary of our independence 
we celebrate to-day. 


CoLUMBIA 
And what of the re-birth of the nation? 


History 
I read from Lincoln’s Gettysburg Address: “that we here 
highly resolve that these dead shall not have died in vain—that 
this nation, under God, shall have a new birth of freedom— 
and that government of the people, by the people, for the peo- 
ple, shall not perish from the earth.” 


FOURTH OF JULY CEREMONY 37 


COLUMBIA 
This liberty is yours “to enjoy, to protect, to transmit”’ to all 
children everywhere for all time. Raise aloft our flag. 

[Music, “True Freedom.” Pace takes flag and hands it 

to LEADER, who marches with it to flagpole. CHIL- 

DREN turn about-face and advance, forming a connect- 

ing line between stage and flagpole. As the flag 1s 
unfolded to its full beauty, the face of the SPIRIT OF 

THE FLAG, /utherto concealed, appears from behind it. | 


SPIRIT OF THE FLAG 
I am what you make me, nothing more, 
I swing before your eyes as a bright gleam of color; 
A symbol of yourself; 
A pictured suggestion of that big thing which makes this 
nation. 
My stars and my stripes are your dream and your labors. 
They are bright with cheer, brilliant with courage, firm with 
faith, because you have made them so out of your hearts. 
We are all making the flag. 


LEADER 
Our hearts, our hopes are all with thee; 
Our hearts, our hopes, our prayers, our tears, 
Our faith triumphant o’er our fears, 
Are all with thee, are all with thee! 
[SprrIr OF THE FLAG disappears. Flag 1s raised as 
BucGuer plays “Colors.” Entire assemblage sings first 


38 CEREMONIES AND DEVOTIONAL PLAYS 


verse of “The Star-Spangled Banner.’ Assemblage 
repeats the “Pledge to the Flag.” Assemblage sings 
“These Things Shall Be,’ page 14, as COLUMBIA 
leads the recessional, followed by the other players. | 


COSTUMES 


CoLuMBIA: Gown of white falling in graceful folds; sash 
of red and white to suggest bars of flag; cap of blue 
bearing silver stars, for “field of stars.” 

Two Paces: Knickerbockers and shirts of white; stripes of 
red, white, and blue on trouser seam; head-band of 
same. 

Stx Inpran Braves: Feathered head-dresses; blankets, etc. 

SPANISH MAIDEN: Full red skirt; black mantilla; colorful 
shawl; high-heeled slippers; large comb; fan; jewels. 

ITALIAN PEASANT GIRL: Full green skirt; white peasant 
blouse ; black-laced bodice. 

DutcH GirL: Blue dress; kerchief, apron, and cap of white 
lawn. 

Dutcu Boy: Black knickerbockers; white jumpers; black 
cambric cap; blue Windsor tie. (‘‘Wooden shoes” may 
be made of brown paper, shaped to bedroom slippers. ) 

Joan or Arc: Doublet and hose, and cape of French blue. 
She carries a French flag. 

PuriTANs: Woman: Dress of gray cambric; kerchief, 
apron, and cap of white lawn. Man: Black trousers, 
long cape; stiff hat with broad rim of blackened paper. 
(Shoes may be made of storm rubbers with buckles of 
silver paper. ) 

LipErTY: To suggest Statue of Liberty; flowing gown of 

39 


40 CEREMONIES AND DEVOTIONAL PLAYS 


green with drape over shoulder ; seven-pointed crown; a 
torch in right hand, and tablet in left. | 

Justice: To suggest symbolic figure of Justice; blue robe of 
Grecian design; eyes veiled; scales in right hand. 

INDUSTRY: Gray overalls and shirt; sun-hat and hoe to sug- 
gest Agriculture, or mallet to suggest Builder. 

EAGE:,.~White flowing gown; in right hand, a dove (made 
of clay or cardboard). 

forznER? Axi SIXTEEN AMERICAN CHILDREN: Girls wear 

to basdwite blouses and dark skirts, and boys wear white 
shirts, dark trousers, and red Windsor ties. 

Poseie/MeattH: Costume of a Red Cross nurse. 

lpf#s¥ervs!l Purple gown of Grecian design. She carries a 

2lowol geroll or large book. 

SptReg OFTHE Frac: Flowing white robe; she holds large 
American flag. 

HpwcAgion: College cap and gown. (Cap may be made of 
pasteboard. ) | 


sxosld :e7 
Vem “290 
( .2teqaqrile 


anld clone 


toto: 
2192 nK 
-TIGEC 


to esl 


to 


>\ 


ay ES 
(eas 
\ 
r 
‘ Fae 
Le | 
s x 
= x 
br 3 


7 
moe 
A 


x 
So 


ef % 
Rose S 
oe ENTRANCE 


eres 
x 

XN 
K 


oem nm me 


STAGE DIAGRAM 


I COLUMBIA 


10 JUSTICE 


2 PaGEs 11 INDUSTRY 
3 INDIANS 12 EDUCATION 
4 SPANISH MAIDEN 13 PusLtic HEALTH 
5 IraLIAN PEASANT GIRL 14, PEACE 
6 DutcH GIRL AND Boy 15 History 
7 PILGRIMS 16 SPIRIT OF THE FLAG 
8 Joan oF ARC 17 AMERICAN CHILDREN 
9 LIBERTY 18 LEADER 
19 BUGLER 


41 


hr ae 
al 


| 


a Aobee Cant gae eam) ht 
x “ os 1 x : 
tae ae mat H Rot 
y : yakrne se 
= ST a al] 5 : 
: of opie 
‘ SF 4 
4 a 
y ' = 
\ 


ee 


™ 


LZ 


ee Seaport og 
; 7 oN ale + rh = es =a 
4 e ‘ ‘i ee oan ieee Ss 
te, , t es 3 " ° Y 
t Laan ta } rp ye ; fi Sar ata ican 
\\ Me “ a J 2 : Se on oe = = 
pee Cia ts eae = 
F : ie ; 
c cs Se \ > 
, te OT et eg a i 
ere” ™ { ,r_F 
pen saat en ap vill i BW ee a 
t ) ‘ { eh P = 
ie Me ap ae 3 1 = 
: , Fi = 
Bint 3 Sears Desc aia ’ J 
*) j-" é * S, Mg ae | Oe 
a aero ae Pa Ie Manso Re i 
i y J x 2 rt Pe bad 
; : 5 : 
r: r 
Y i BP jena at | 
? { F Roane E 
the ees Pe epee as wh Pera ray Ul paaee Ea bia 
‘ " | F t 1 ea t i 4 
Se 1 : ' : ‘ 
i 7] 
| : i 1 , See , 
i D Roi feat y \ ; f 
Wes : Bi Fea eee ee ; ei nots : {4} 
I a aa Sheth oy zal fete hs 
Sie 7 Br . : , ogeT ‘ 
on ' seh outa . 2 
et Wiener ) t ! - 
‘ ; : ; Z é ‘ i 
F Rae SE ay ! = \e z \ ' } ' : 
t * a = { = ‘ I i t j 2 
; RES tala : oe Se ANG ts es ‘ 
- pane gue aac ts 2 ; oa { 1 f 
i . é ee i ; b x 7 ahs -f? a : 
! anes 3 x ayes Jb, Ui { ; E 5 
2 4 , 2° meet : : an a ta ; 
’ ’ s } 4 et Bh : 
: tens =n ' a HH 
' ‘v ' i! u ve . ay eer z! 
2. ‘ om fa, 4 ny 4 a; 
| } meSyeiea fis 
y : LS } : eae i e 
f ' 6 Uae ay 
2 = . eciats A 
: ‘ 9 - 
' 


A 
ath, 
ff 
f 
/ 
; ; AL. 
t 
# he 
et Y 
4 Fhe iy YS | 
. ade AN i 


i 


RUTH AND NAOMI—A PANTOMIME 


THE PLAYERS 


RuTH 

Naomi 

OrRPAH 
NARRATOR 


RUTH AND NAOMI? 


ScENE: On the roadway to Bethlehem—Judah. (Where 
stage 1s inadequate to suggest distance, the floor-space 1s 
used.) Stage curtains closed. 


Music: “Chanson Sans Parole,’ Opus 40, No. 6. Tschai- 
kowsky. 


NARRATOR 


Now it came to pass in the days of the Judges, that there was 
a famine in the land. Anda certain man of Bethlehem-Judah 
went to sojourn in the country of Moab, he and his wife, and 
his two sons. 

And the name of the man was Elimelech, and the name of 
his wife, Naomi, and the name of his two sons, Mahlon and 
Chilion. And they came into the country of Moab and settled 
there. 

And Elimelech, Naomi’s husband died, and she was left with 
her two sons, Mahlon and Chilion. And they took them wives 


1 First produced, in 1922, under direction of Mrs. Emma Sheridan Fry, 
at Camp Lenore. 
45 


46 CEREMONIES AND DEVOTIONAL PLAYS 


of the women of Moab; the name of the one was Orpah; and 
the name of the other, Ruth; and they dwelled there about ten 
years. 

And Mahlon and Chilion died also, both of them; and 
the woman was bereft of her husband and also of her two 
sons. [Music begins softly.| Then she arose with her 
daughters-in-law that she might return from the country of 
Moab, for she had heard that the Lord had visited his people 
in giving them bread. 


[Naomi enters, left foor-space, with RutH and ORPAH 
on either side. They come slowly down center 
front. | | 

Therefore she went forth out of the place where she 
was, and her two daughters-in-law were with her: and they 
went on their way to return unto the land of Bethlehem- 
Judah. 

And Naomi said unto her two daughters-in-law, both of 
them, “Go, return, each of you, to her mother’s house. ‘The 
Lord deal kindly with you, even as ye have dealt with the dead 
and with me.” 


[ Daughters kneel to receive blessing. | 


“The Lord grant you that ye may find rest, each of you, in 
the house of her husband.” 
Then she kissed them, and they lifted up their voices and 


wept. 


[ Action follows text. | 


RUTH AND NAOMI 47 


And they said unto her, “Nay, surely we will return with 
thee unto thy people.” 

[ Daughters cleave unto her. 

And Naomi said, ‘““Turn again, my daughters, go your way! 
Nay, my daughters, for it grieveth me much for your sakes that 
the hand of the Lord is gone out against me.” 

And they lifted up their voices and wept again. And Orpah 
kissed her mother-in-law, but Ruth clave unto her. 


[Music, without reading, while ORPAH turns to go.] 
And Naomi said, “Behold, thy sister-in-law goeth back unto 
her people and unto her gods; return thou also after thy sister- 
in-law.” 


[Music, as OrPAH pleads with RuTH to join her, and 
exits sadly, left. | 


And Ruth said, ““Entreat me not to leave thee, or to return 
from following after thee; for whither thou goest I will go; 
and where thou lodgest I will lodge; thy people shall be my 
people, and thy God, my God. Where thou diest, I will die, 
and there will I be buried. 


[RutH grasps Naomi’s hands and vows :]| 


“Jehovah do so to me, and more also, if aught but death part 
thee and me.” 


[Music during dramatic pause, as NAOMI is convinced of 
RutTuH’s loyalty. | 


48 CEREMONIES AND DEVOTIONAL PLAYS 


And when Naomi saw that she was steadfastly minded, she 
left off speaking unto her. 


[The two women embrace and go off right. End of 
music. | 
So they two went forth, Naomi and Ruth the Moabitess, her 
daughter-in-law, with her out of the country of Moab, and they 
came to Bethlehem-Judah in the beginning of the barley har- 
vest. 


COSTUMES 


Naomi: Gown of purple cheese-cloth; dull-red head drapery ; 
sandals. 

RutH: Gown of ivory color cheese-cloth or crepe; head 
scarf of striped fabric. 

OrPAH: Gown of soft blue or gray; orange turban. 

Narrator: Head scarf and garment of soft gray cheese- 
cloth, falling in loose folds. 


49 


ut 
1 
’ 


——<—<—— 


ll 


| 


il 


| aneerea 


ng 

He 

SAVIN 
mtv 4) 

H ‘B 

matt 

} 

“| 
Wt 
‘4 
jt 
at 
: 

on 
7 
yift, 

M/ 

ify i 
HHA 
Heat 
. 
\ 
WW 
.' 
ss 
X 
1 
s 

1 
i] 7 / 

i} . 

y | 
ean 
ye AAT 
be 1 Ne 

f 

bt F 
| d 
' 


r 7 
4 i hey a 


i 
Abe: 
fad ik 


\ f % If tp (i 
WAN 
I 

yy 


AMY 
\ \ 

; ) 
ON LAN 
Pa ate Daa \ 


Ss 


AN \ 


‘\ 


i(k 
(ean \ 


is 


. 
~ 
oy, Pant ea 
0; oN 
. 5 apie 
4 
fi, CAR WY 
ye} 
1 1 ss \ , 
ta \bo . 
\ 
Wels! 
1, ' 
} \ 


| 


Ut 


ul 


1 


| 


hy 


\ mate ? \ 

A 4 ea lg 
past WANG ag f/ i NE 
WT: \ , ; if ’ 

Hy! ay y] } H 
i Le \ . 


ml 


FINDING OF THE BABY MOSES—A PANTOMIME 


PLAYERS 


Jaw Ko BED, Mother of Moses 
MirIAM, Sister of Moses 
THE Princess, Pharaoh’s Daughter 
Four HANDMAIDENS 
Two FaNn-BEARERS 
NARRATOR 


FINDING OF THE BABY MOSES 


SCENE: The bank of the River Nile is suggested by shrub- 
bery, ferns, bulrushes, driftwood, and stones arranged 
on floor-space. Curtains are open, disclosing dark 
back-drop. Steps lead to floor-space. 

Music: “Autumn,” Tschaikowsky. Played on strings and 

piano. 
[NARRATOR stands at rear of hall near piano, or to 
side, depending on acoustics of hall.] 


NARRATOR 


And when Joseph died and all that generation of Israel, 
there rose up a new king over Egypt who knew not Joseph. 

Then said the new king unto his people, even unto the Egyp- 
tians, Behold, the people of the children of Israel are more and 
mightier than we. 

Come, let us consider and deal wisely with them; lest they 
multiply, and it come to pass, that, when there falleth out any 
war, they join also unto our enemies, and fight against us. 
Let us bestir ourselves, and afflict the children of Israel and so 
get them up out of the land. 

Therefore they did set over them taskmasters to afflict them 
with their burdens. And they built for Pharaoh treasure 
cities, Pithom and Raamses. 

93 


54 CEREMONIES AND DEVOTIONAL PLAYS 


But the more they afflicted them, the more the Hebrews 
multiplied and were steadfast. And the Egyptians made the 
lives of the children of Israel bitter with bondage and made 
them serve in their bondage with rigor. 

And the king of Egypt said, every man-child, every son that 
is born of Israel, even of these Hebrews, ye shall lay hold upon, 
and cast into the river. 

And Amram, a man of the house of Levi, took to wife Jah 
ko bed, a daughter of the house of Levi also. And Jah ko bed 
conceived, and when her time was come, she brought forth, and 
lo! the child was a son! 

[Music begins softly. } | 

And when she saw her goodly child, that it was a son, she 
hid him; three months she hid him. 

And when it came to pass that she could no longer hide him, 
she made an ark: she weaved an ark secretly, and laid the 
child therein, and rose up with the child in the ark she had 
made, and went forth. 

[Music continues during follounng pantomime. From 
left floor space JAH KO BED enters, carrying baby. She 
1s distraught. | 


NARRATOR 


And her heart yearned heavily within her; and her daughter 
Miriam came and was with her. 
[Music continues, without reading. MuirtAM comes left. 
She urges her mother to place the child in the bulrushes 
by the river’s brink. | 


FINDING THE BABY MOSES be 


NARRATOR 
Then called Jah ko bed unto God that He might be mindful 
of her child. 
[JAH KO BED prays fervently. ] 
And. the voices of Pharoah’s daughter and her maidens were 
heard. 
[Miriam runs to stage, peers off right, indicates approach 
of royal party. | 
NARRATOR 
And Jah ko bed was sore afraid, and Miriam comforted her 
mother. And Jah ko bed hearkened, and laid the ark, and the 
child therein, among the flags by the river’s brink. And her 
heart yearned heavily, and she was sore afraid. 
[Pantonume follows text. Exit JAH KO BED, left, arms 
raised in prayer. | 
NARRATOR | 
And Miriam, the child’s sister, stood afar off to see what 
might befall her brother. 
[Mrrtam conceals herself behind shrubbery, left floor- 
space. Music, Fifth Symphony, Part I, Fourth Move- 
ment, Finale, Beethoven. | 


NARRATOR 
In this hour was the time that the daughter of Pharaoh was 
minded to come down with her maidens to wash herself at the 
river. And her maidens walked along by the river’s side; and 
they saw the ark among the flags. 
[From right stage come two HANDMAIDENS. At top of 
steps, first HANDMAIDEN notices basket among flags, 


56 CEREMONIES AND DEVOTIONAL PLAYS 


draws attention to tt. Her companion runs back to tell 
Princess. Enter PRINCESS with other HANDMAID- 
ENS. Two Fan-Brearers follow, and take position on 
etther side of steps. | 


NARRATOR 


And when Pharoah’s daughter saw the ark among the flags, 
she sent her maid to fetch it. 
[First HANDMAIDEN fetches ark for PRINCEss, who 
T awaits her at right floor-space. Music, “Vermeland”’ 
ts played softly. | 


Vermeland 


Swedish Folk Song 


FINDING THE BABY MOSES 57 


NARRATOR 
And when Pharaoh’s daughter had opened the ark, she saw 
the child: And behold, the babe wept. And the heart of 
Pharaoh’s daughter moved within her, and she said, This is 
one of the Hebrews’ children. 

[HANDMAIDENS show delight at sight of child. One 
stands aloof disapprovingly, fearing disobedience to 
Pharaoh’s edict. Mirtam appears from behind shrub- 
bery, left, and motions to nearest HANDMAIDEN, e.4- 
pressing her desire to address the PRINcEss. HAND- 
MAIDEN indicates slave girl to PRINCESS, who nods as- 
sent. Muirtam kneels before PRINCEsS. | 


NARRATOR 
Then said the child’s sister to the princess, “Shall I go and 
call to thee a nurse of the Hebrew women, that she may nurse 
the child for thee?” 
And Pharaoh’s daughter looked upon Miriam and said unto 
her, “Yea, go.” 
And Miriam hasted her and called the child’s mother. 
And Pharaoh’s daughter looked upon the child. 
[Mirtam returns with JAH KO BED, who comes crouch- 
ingly and prostrates herself before the PRINCESS. | 
Then Pharaoh’s daughter spoke unto the woman, saying, 
“Take thou this child.”’ 
[JAH KO BED reaches up to seize the child, and would 
depart sunftly. She thus betrays herself to the PrRIn- 
CESS, who senses the situation, but seeks to conceal tt 
from her HANDMAIDENS. PRINCESS, feigning stern- 
ness, commands JAH KO BED. | 


58 CEREMONIES AND DEVOTIONAL PLAYS 


Yea, take the child away and nurse it for me. Be thou heed- 
ful of him, and I will pay thee wages. 

[ JAH KO BED, in gratitude, kisses hem of PRINCESS’s gar- 
ment and comes to center front floor-space and bends 
eagerly over child. Music, Beethoven, on page 55. 
Procession leaves in the same order as entrance. Music, 
“Autumn,’ Tschaikowsky. JAH KO BED and MIRIAM 
rejoice over the recovery of the child. They consecrate 
him to the service of God. Exit left.] 


NARRATOR [Without music. | 
So it came to pass that the child grew and his mother was 
nurse to him. And Pharaoh’s daughter called the child 
“Moses,” because she had drawn him from the water. 


COSTUMES 


JAH KO BED: Long tunic and head scarf of striped material. 
Feet bare. ; 
Mir1AM, Her DauGHTER: Short gray tunic; head scarf of 

blue. Feet bare. 
Princess and Four HAnpDMaAIDENS: The splendor of the 
court costumes can be achieved through utilization of the 
primary colors—greens, blues, yel- 
lows and gold and terra-cotta. 
Egyptian motifs may be studied 
and transferred to paper or 


muslin, for head-bands, collars, 
and borders. Beads, bracelets 
of gilded paper, and paste jew- 
els may be added. 

Two Fan-Bearers: Black 
bathing-suits serve as founda- 
tions. Headdresses, collars, and 
belts may be made of gilded 
oilcloth, The fans are made 
of heavy cardboard. The conventionalized design is painted 
in the Egyptian colors. 

THE Narrator: Flowing gray robe and head scarf of cheese- 


cloth; scroll or large decorative book. 
59 


IN 


oe 


Wop 


pid 


| 
WE 


{2 


{LSE | 
MN Wn ee 
y, _\\W 


Cn 
/ LM 


5 


Shs aKN = 
NES 
Wy, xe 


(t 
/ 
7. 


$7 
eT 
_———— 


THE HAPPY PRINCE—A PANTOMIME 


Oscar Wilde’s “Fairy Tales” have long been a source of 
inspiration for their literary value and ethical content. Al- 
most any of the stories may be easily adapted. for pantomime. 
“The Happy Prince” is included among the Devotional Plays 
because of its spiritual message. 


THE PLAYERS 


READER 
THe Happy PRINCE 
THE SWALLOW 
THE REED 
THe Mayor 
THE Town COUNCILOR 
CHARITY CHILDREN (four or six) 
GIRL AND LOVER 
THE SEAMSTRESS 
THE Sick Boy 
THE POET 
THe MatcH GIRL 
Tue Gay Procession: 
First CLOWN 
SECOND CLOWN 
SPANISH SENOR AND SENORITA 
Two MEDIEVAL CouRTIERS 
PIERROT AND PIERRETTE 
Two TROUBADOURS 
Poor CHILDREN (eight or ten) 
BEGGAR Man 


THE HAPPY PRINCE 


[Reader stands to right of stage. To left of stage is a 
frame—o ft. by 8 ft.—with curtains closed. THE 
REED is seen at left, well in front of frame. ] 


FIRST EPISODE—THE REED AND THE 
SWALLOW 
SCENE: Outdoors. 
Music: “Birdling,’ Gnieg. 
[THE REED sways lightly in the breeze. | 


READER 
One night there flew over the city a little Swallow. His 
friends had gone away to Egypt six weeks before, but he had 
stayed behind, for he was in love with a most beautiful Reed. 
[Enter, left, THE SWALLow chasing moth, sees THE 
REED, ts charmed by her grace. | 
He had met her early in the spring as he was flying down 
the river after a big yellow moth and had been so attracted by 
her slender waist that he stopped to talk to her. 
“Shall I love you?” said the Swallow, who liked to come to 
the point at once. 
[THe SwALLow fits toward THE REED. | 
And the Reed made him a low bow. So he flew round and 


round her, touching the water with his wings and making silver 
63 


64 CEREMONIES AND DEVOTIONAL PLAYS 


ripples. This was his courtship, and it lasted all during the 
summer. 
[Pantomime follows text. THE SWALLow and THE 


RrEEp embrace. | 
Then the autumn came and all the Swallow’s friends flew 
away. He felt lonely and began to tire of his lady-love. 
[THE Swattow looks off into the distance. | 
“She has no conversation,” he said, ‘and I’m afraid that 
she is a coquette, for she is always flirting with the wind.” 
[THE SwaLLow walks away from THE REEp fetulantly. | 
And certainly, whenever the wind blew, the Reed made the 
most graceful curtsies. 
“Will you come away with me?” he said finally to her. 
But the Reed shook her head. She was so attached to her 
home. 
“You have been trifling with me,” he cried. 
[Stamping foot.] 
“I am off to the Pyramids. Good-by.” And away he flew. 
[THE SWALLOw encircles THE REED several times and 
is seen flying off into the distance, right, as THE REED 
withdraws, left, unobtrusively. | 
Music for SwALLow’s flight, “On the Mountain,’ Opus 19, 
Grieg. 
[Note: If produced indoors, distance can be suggested 
by drawing stage curtains slowly. THE SWALLOW 
then flies before curtains and off-stage.| 


SECOND EPISODE—THE PRINCE AND 
THE SWALLOW 


[Curtains on stage are drawn, disclosing the statue of 
THE Happy Prince. Music, “Volkweise,’ Grieg.] 


READER 
High above the city stood the statue of The Happy Prince. 
He was gilded all over with thin leaves of fine gold; for eyes he 
had two bright sapphires, and a large red ruby glowed on his 
sword-hilt. He was very much admired indeed. 

[Enter, left, the Mayor and Town CouNcILor very 
pompously. They pass in front of statue, and panto- 
mime conversation. | 

“He is as beautiful as a weathercock,”’ remarked the Town 
Councilor, who wished to gain a reputation for having artistic 
tastes. | 

[Going off right, they meet a group of Cuarity CHIL- 
DREN, who curtsey with ceremony. Music “Spring 
Tanz,” Grieg. | 

“He looks just like an angel,’ said the Charity Children, 
as they came out of the cathedral in their bright scarlet cloaks. 

[Cuarity CHILDREN gather about statue in awe of tts 
beauty. The group skips off happily except one child, 
who steps up to statue and looks into its face. She 
strokes the golden garment, then exits left, still gazing 


at the statue over her shoulder. End of Music.] 
65 


66 (CEREMONIES AND DEVOTIONAL PLAYS 


All day long the Swallow flew, and at night-time he arrived 
at the city. 

“Where shall I put up?” he said. “I hope the town has 
made preparations.” 


[Enter Tue SwALtow right; he wearily flits from the to 
right, seeking a resting-place. | 

Then he saw the statue. “I will put upthere!” hecried. “It 
is a fine position with plenty of fresh air.” 

So he alighted just at the feet of The Happy Prince. 

“T have a golden bedroom,” he said softly to himself as he 
prepared to sleep; but just as he was putting his head under 
his wing a large drop of water fell on him. “What a curious 
thing!’ he cried; “there is not a single cloud in the sky, and yet 
it is raining. The climate in the north of Europe is really 
dreadful.” 

Then another drop fell. 

[Disgruntled.| “What is the use of a statue if it cannot 
keep the rain off?” he said. “I must look for a chimney-pot,” 
and he determined to fly away. 

But before he had opened his wings, a third drop fell, and 
he looked up, and saw—ah! what did he see? 

The eyes of The Happy Prince were filled with tears, and 
tears were running down his golden cheeks. His face was so 
beautiful in the moonlight that the little Swallow was filled with 
pity. 

[Tue SWALLow fits to side of statue and looks up.) 

“Who are you?” he said. 

“T am The Happy Prince.” 


THbo HAPPY (PRINCE 67 


“Why are you weeping, then? You have quite drenched 
me.” 


[Shaking the water from his wings.] 
“When I was alive, and had a human heart,” answered the 
statue, “I did not know what tears were, for I lived in the 
Palace of Sans Souci, where sorrow was not allowed to enter. 
In the daytime I played with my companions in the garden, 
and in the evening I led the dance in the Great Hall. Round the 
garden ran a very lofty wall, but I never cared to ask what lay 
beyond it, everything about me was so beautiful. My courtiers 
called me The Happy Prince, and happy indeed I was, if 
pleasure be happiness. So I lived, and so I died. And now 
that I am dead they have set me here so high that I can see 
all the ugliness and all the misery of my city; and though my 

heart is made of lead, yet I cannot choose but weep.” 
[Text suggests suitable expression and gesture.] 

“What, is he not solid gold?” said the Swallow. 
[In an aside to the audience. | 
[Curtains of the frame are drawn slowly, disclosing the 
scene described in the text following. Music, “Poettc 
Tone Picture,’ No. 5, Grieg. | 

“Far away, far away in a little street, there is a poor house. 
One of the windows is open, and through it I can see—a 
woman seated at a table. Her face is thin and worn and she 
has coarse red hands all pricked by the needle, for she is a seam- 
stress. She is embroidering passion-flowers on a satin gown 
for the loveliest of the Queen’s maids of honor to wear at the 
next court ball. In the corner of the room her little boy is 


68 CEREMONIES AND DEVOTIONAL PLAYS 


lying ill. He has a fever and is asking for oranges. His 

mother has nothing to give him but river water, so he is crying. 

[End of Music. Frame curtains closed. Pantomime 
follows text. | 

“Swallow, Swallow, little Swallow, will you not bring her 
the ruby out of my sword-hilt? My feet are fastened to this 
pedestal and I cannot move.” 

[Tue Prince makes an unsuccessful effort to free him- 
self from the pedestal. | 

“T am waited for in Egypt,” said the Swallow. “My friends 
are flying up and down the River Nile and talking to the large 
lotus-flowers.” 

[Indifferent to the plea, THE SWALLOow Mitts right. | 

“Swallow, Swallow, little Swallow,” said the Prince, “will 
you not stay with me for one night and be my messenger? .. . 
The boy is so thirsty and the mother so sad.” 

“T don’t puuale I like boys,” answered the Swallow. 

[Squirming out of the responsibility. | 

But The Happy Prince looked so sad that the little Swallow 
felt sorry. 

“Tt is very cold here,” he said, “but I will stay with you for 
one night, and be your messenger.” 

[THE SwALLtow bows before PRINCE. ] 

“Thank you, little Swallow,” said the Prince. 

So the Swallow picked out the great ruby from the Prince’s 
sword and flew away with it in his beak over the roofs of the 
town. He passed by the palace and heard sounds of dancing. 
A beautiful girl came out with her lover. 


THE HAPPY PRINCE 69 


[Enter right on green, GIRL and LovER in masquerade 
costume. | 
“How wonderful the stars are,” he said, “and how wonder- 
ful is the power of love!” 
[Lover kneels and kisses her hand.] 
“I hope my dress will be ready in time for the state ball,” 
she answered. ! 
[Flippantly tossing her head. | 
“T have ordered passion-flowers to be embroidered on it, but 
the seamstresses are so lazy!” 
[They dance a gavotte. At conclusion of the dance, she 
runs off muischievously, left, he follows. End of 
music. | 


Shepherd Dance 


Grazioso 


70 CEREMONIES AND DEVOTIONAL PLAYS 


At last he came to the poor house and looked in. 

[Curtains of frame are drawn. THE SWALLOow its seen 
peering in from the side of the frame. Music, 
“Heart’s-ease,’” Grieg. | 

The boy was tossing feverishly on the bed and the mother 
had fallen asleep, she was so tired. In he hopped and laid 
the great ruby on the table beside the woman’s thimble. Then 
he flew gently around the bed fanning the boy’s forehead with 
his wings. 

“How cool I feel!’ said the boy; “I must be getting better” ; 
and he sank into a delicious slumber. 

[Pantomime follows text through above; mother wakes 
with a start, feels boys forehead, finds him better, is 
thankful; she discovers ruby, is overjoyed. Curtains 
are drawn. | 


THE SHAPPY (PRINCE 71 


Then the Swallow flew back to the Happy Prince and told 
him what he had done. 

[Tue Swatiow kneels before the PRINCE. ] 

“Swallow, Swallow, little Swallow,” said the Prince, “far, 
far away, across the city, I see a young man in a garret. 

[Curtains of frame open. Music, “Poetic Tone Picture,” 
No. 4, Grieg. | 

He is leaning over a desk covered with papers, his hair is 
brown and crisp, and his lips are red as a pomegranate, and he 
has large dreamy eyes. He is trying to finish a play for the 
director of the theater, but he is too cold to write any more. 
There is no fire in the grate and hunger has made him faint. 

[Pantomime follows text. Tur SwALLow is torn be- 
tween desire to join his kind and his wish to serve THE 
Prince. Finally he yields and kneels at the feet of 
THE PRINCE. | 

“T will wait with you for one night longer,” said the Swal- 
low, who really had a good heart. “Shall I take him another 
ruby ?” : 

“Alas! I have no ruby now,” said the Prince. “My eyes are 
all that I have left. They are made of the rarest sapphires, 
which were brought out of India a thousand years ago. Pluck 
out one of them and take it to him. He will sell it to the jew- 
eler and buy food and firewood and finish his play.” 

“Dear Prince,” said the Swallow, “I cannot do that.” And 
he began to weep. 

“Swallow, Swallow, little Swallow,” said the Prince, “do as 
I command you.” 

[THE PrINcE is ready for supreme sacrifice. THE 


72 CEREMONIES AND DEVOTIONAL PLAYS 


SWALLOW twice attempts to obey THE PRINCE'S com- 
mand, but twice falls back, courage faling. THE 
PRINCE’S calm determination finally impels him to ac- 
tion. | 
So the Swallow plucked out the Prince’s eye and flew away 
to the student’s garret. It was easy enough to get in, as there 
was a hole in the roof. Through this he darted, and he came 
into the room (frame curtains open). The young man had 
his face buried in his hands, so he did not hear the flutter of 
the bird’s wings, and when he looked up he saw the sapphire 
lying near him. Pe 
[Text suggests pantomime. | 
“I am beginning to be appreciated,’ he cried; “this is 
from some great admirer. Now I can finish my play.” And 
he looked quite happy. 
[Frame curtains close. End of music. 
And when the moon rose the Swallow flew back to The 
Happy Prince. 
[SwALLow kneels. | 
“Swallow, Swallow, little Swallow, will you stay with me 
for one night longer?” 
“Tt is winter,’ answered the Swallow; “the chill snow will 
soon be here. In Egypt the sun is warm on the green palm- 


5] 


trees.” 
“In the square below,” said the Prince, “there stands a 
little Match Girl. 
[Music, Mazurka, Opus 17, No. 4, Chopin. Enter, left, 
ragged little Matcu GIRL with arms full of matches. | 


THE HAPPY PRINCE 73 


“She has let her matches fall into the gutter and they are all 

spoiled. 
[The Matcu Giru bends over the matches, which she has 
dropped in her zeal to sell them. | 

“Her father will beat her if she does not bring home some 
money, and she is crying. She has no shoes or stockings and 
her little head is bare. Pluck out my other eye and give it to 
her, and her father will not beat her.” 

“T will stay with you one night longer,” said the Swallow, 
“but I cannot pluck out your other eye. You would be quite 
blind then.” 


d 


[THE SWALLow is panic-stricken. | 

“Swallow, Swallow, little Swallow,” said the Prince (ma- 
jestically), ‘do as I command you.” 

So he plucked out the Prince’s other eye and darted down 
with it. [Very sorrowfully. | 

He swooped past the Match Girl and slipped the jewel into 
the palm of her hand. 

[End of music. The Matcu Girt lifts her head at the 
flutter of the bird’s wings. | 

“What a lovely bit of glass!’’ said the little girl, and she ran 
home laughing. 

Then the Swallow flew back to The Happy Prince. “You 
are blind now,” he said, “so I will stay with you 
always.” 

“No, little Swallow,” said the Prince, “you must go away to 


Egypt.” 
[Feeling for THE SwWALLow with his hands. | 


74 CEREMONIES AND DEVOTIONAL PLAYS 


“T will stay with you always,” said the Swallow, and he slept 
at the Prince’s feet. 

All the next day he sat at the Prince’s feet, and told him 
stories of what he had seen in strange lands. 

“Dear little Swallow,” said the Prince, “you tell me of mar- 
velous things, but more marvelous than anything is the suffer- 
ing of men and women. There is no mystery so great as 
misery. Fly away over my city and tell me what you see 
there.”’ 

So the Swallow flew over the city and saw the rich making 
merry while beggars were sitting at the gates. 

[Music, “Skip Dance,’ Opus 38, No. 5, Grieg. Enter 
from right the Gay Procession. First CLown af- 
pears right; turns somersaults to center of green; falls 
awkwardly. SECOND CLOWN appears, right, with hands 
on hips; he stands laughing at him, motions to the rest 
of the Procession, “Way is clear, come on!” comes 
forward, jovially lifts First CLown’s feet, and exits 
with him, left, wheelbarrow fashion. SpanisH SENOR 
and SENORITA (in ammated conversation), lady lean- 
ing on arm of gentleman. Two MEDIEVAL CouURTIERS, 
lady languidly telling gentleman a story. He is appar- 
ently bored and yawns. PIERROT and PIERRETTE. 
They have quarreled; PIERROT seeks to explain it away; 
PIERRETTE 1s haughty at first, but finally relents. Two 
TROUBADOURS playing on guitars. ‘As GAY PROCES- 
sIon advances to center, a group of Poor CHILDREN 
enter, left, and stand watching in great awe. PROCES- 
SION goes off left, children come center and mimic the 


THE HAPPY PRINCE 75 


“grandees.” Enter, left, BEGGAR Man, leaning on a 
stick. The street urchins pelt him with stones. He 
goes off, right, waving stick, while they follow taunt- 
ingly. Music, “Love Erotique,”’ Grieg. | 

Then the Swallow flew back and told the Prince what he 
had seen. 

“T am covered with fine gold,” said the Prince. ‘You must 
take it off and give it tothe poor. The living always think that 
gold can make them happy.” 

Leaf after leaf of fine gold the Swallow picked off, till the 
Prince looked quite dull and gray. Leaf after leaf he brought 
_ to the poor. 

[THE SWALLOow scatters gold on the ground and stands 
aside to watch. The returning Poor CHILDREN dis- 
cover the gold and summon the old Beccar Man. All 
pick up gold, make merry, and dance about the BEGGAR 
Man. Music, “Skip Dance,’ Opus 38, No 5, Gneg.] 

The children’s faces grew rosier and they laughed and 
played games in the street. “We have bread now!” they cried. 

[They dance off right. Music, “Love Erotique,’ Opus 
43, No. 5, Grieg.]| 

Then the snow came, and after the snow came the frost. 
The poor little Swallow grew colder and colder and tried to 
keep himself warm by flapping his wings. But at last he knew 
that he was going to die. He had just strength enough to fly 
to the Prince. 

“Good-by, dear Prince,” he murmured. “Wall you let me 
kiss your hand ?” 

“T am glad you are going to Egypt,” said the Prince; “you 


76 CEREMONIES AND DEVOTIONAL PLAYS 


have stayed too long here; yes, you must kiss me, for I love 
you.” | 

“It is not to Egypt that I am going,” said the Swallow; “T 
am going to the House of Death.” And he kissed the Prince 
and fell down at his feet. At that moment a curious crack 
sounded within the statue, as if something had broken. The 
fact is the leaden heart had snapped right in two. 

[Tuer PRINCE puts his hand to his heart; then his head 
droops slowly. Stage curtain 1s slowly drawn. | 

“Bring me the two most precious things in the city,” said 
God, to one of His angels; and the angel brought Him the 
leaden heart and the dead bird. | 


d9 


COSTUMES 


THe Happy Prince: Doublet and hose of gilded material; 
crown; belt and sword. Wire screening, gilded, makes 
effective crown, and sword may be fashioned from 
wood or pasteboard. 

THE SWALLOW: Foundation of steel-blue cheese-cloth cov- 
ered with bands of scalloped material to suggest 
feathers; breast, dull-orange scallops; head-dress, a 
close-fitting cap of steel-blue, edged with orange scal- 
lops. 

THe Reep: Full-length clinging gown of green cheese-cloth. 
Slender effect can be achieved by sewing long strips 
of green material to neck-band. 

THe Mayor: Flowing robe of black or purple of college- 
gown design; imposing hat with feather. 

THE Town CounciLor: Gray robe; purple tam. 

CHARITY CHILDREN: Dull gray dresses, white aprons, scarlet 
capes with hoods. 

GIRL AND Lover: Pierrot and Pierrette costumes. 

Tue SEAMSTRESS: Simple brown dress; sewing-apron. 

Tue Sick Boy: Wrapped in shawl. 

Tue Poet: Blue smock; black Windsor tie. 

Tue Matcu Girt: Ragged dress which she has outgrown; 
shawl on head. 

77 


78 CEREMONIES AND DEVOTIONAL PLAYS 


THE Gay PROCESSION: 

First Clown: Clown costume of black and white. 

SEcoND CLown: Orange-and-black clown costume. 

SPANISH SENOR: ‘Tight knickerbockers; cape; black 
plumed hat; buckled slippers. 

SPANISH SENORITA: Full skirt of bright color; flowered 
shawl; fan; large comb. 

Two Mepievat Courtiers: Lady, high-waisted gown 
of purple; cone-shaped head-dress, with crimson flow- 
ing scarf. Man, doublet and hose of green sateen; 
large plumed hat. 

PIERROT AND PIERRETTE: Black and white of usual 
design. 

Two Trousapours:. First Troubadour, tan doublet and 
hose; cape lined with bright green. Second Trouba- 
dour, red minstrel costume trimmed with silver. They 
carry guitars. 

Poor CHILDREN: ‘Tattered clothes; some are dressed as boys 
and others as girls. 

Beccar Man: Torn coat; burlap sacks wrapped about feet 
for shoes; carries stick for cane. 

READER: Gray cheese-cloth, falling in graceful folds; with 
long loose sleeves; head scarf of same material. 


‘ 3 
~ % a 
mm wor 


owe 
So -_ suger or 20" 


AUDIENCE 


STAGE DIAGRAM 


1 STATUE OF Happy PRINCE 
2 READER 
3 REED 


J 4 
L Bae 
: 

i 
‘ + 


PART II 


Dramatized Folkways 


< 
A 


—— 


nme 
= 


a ay Se don “ 
“ > Fee ST aagy fi 7 : Zi , Oe rl ‘ 
i ‘\ sok Acs er & ~ ate ME ae A - W/Z =. 
Vt i mi y BORON KERR | eae Pes 
\: TE a " H i ; ‘ 


Wet 
i 
LN! 


“ft 
=| 
| 
1 
4 


} 
lh F ie 


tHe GATE ObeTHE WEST 


A DRAMATIZATION OF SCUM 0’ THE EARTH 


THE PLAYERS 


GREEK YOUTH 
PoLtisH MOTHER 
CzecH FIDDLER 
ITALIAN Boy 
HEBREW MAN 
READER 


THe GATE OF THE WEST 


A DRAMATIZATION OF ROBERT HAVEN SCHAUFFLER’S 
POEM “‘SCUM O’ THE EARTH”’ 


The following poem,' is a plea to respect the individuality 
of the immigrant. 


SCENE: The curtains are partly drawn, disclosing a screen 
or back-drop. The Players enter, right. The READER 
stands before the curtain, left. 

[GrEEK YouTH enters right, and stands motionless 
against the screen. | 

At the gate of the West I stand, 

On the isle where the nations throng. 

We call them “scum o’ the earth.” 

[Music, “Patriotic Song,’ Grieg.] 

Stay, are we doing you wrong, 

Young fellow from Socrates’ land ?— 

You, like a Hermes so lissome and strong, 

Fresh from the master Praxiteles’ hand? 

So you ’re of Spartan birth? 

Descended, perhaps, from one of the band— 

Deathless in story and song— | 

Who combed their long hair at Thermopyle’s pass? .. . 


1From “Magic Flame and Other Poems.” Copyright, 1923, by Robert 
Haven Schauffler (Houghton Mifflin Co., Boston and New York.) 
85 


86 DRAMATIZED FOLKWAYS 


Ah, I forget what straits, (alas!), 

More tragic than theirs, more compassion-worth, 
Have doomed you to march in our “immigrant class” 
Where you ’re nothing but “scum o’ the earth.” 

[GREEK YoutHu exits left. Music, Mazurka in'A Minor, 
Opus 17, No. 4, Chopin. Portsh MotTHeEr enters 
right, crooning a tune to her baby. | 

You Pole with the child on your knee, 

What dower bring you to the land of the free? 
Hark! does she croon 

The sad little tune 

That Chopin once found on his Polish lea 

And mounted in gold for you and for me? 

[Eait Pottsh Motuer, left. Enter CzEcH FIppLer, 
right, who pantomines playing “wild Czech melody.” 
Music, “Songs My Mother Taught Me,’ Dvorak on 
violin, off stage. | 

Now a ragged young fiddler answers 

In wild Czech melody 

That Dvorak took whole from the dancers. 

And the heavy faces bloom 

In the wonderful Slavic way ; 

The little dull eyes, the brows a-gloom, 

Suddenly dawn like the day. 

While, watching these folk and their mystery, 

I forget that we, in our scornful mirth, 

Brand them as “Polacks’”—and ‘“‘scum o’ the earth.” 

[Exit Czecn Fippier. Music, “Santa Lucia.” Enter 
ITALIAN Boy. ] 


THE GATE OF THE WEST 87 


Genoese boy of the level brow, 

Lad of the lustrous, dreamy eyes 

Agaze at Manhattan’s pinnacles now 

In the first sweet shock of a hushed surprise; 
Within your far-rapt seer’s eyes 

I catch the glow of the wild surmise 

That played on the Santa Maria’s prow 

In that still gray dawn, 

Four centuries gone, 

When a world from the wave began to rise. 
Oh, who shall foretell what high emprise 

Is the goal that gleams 

When Italy’s dreams , 

Spread wing and sweep into the skies? 

Cesar dreamed him a world ruled well; 
Dante dreamed Heaven out of Hell; 

Angelo brought us there to dwell. 

And you, are you of different birth >— 

You ’re only a “dago,” and “scum o’ the earth!” 

[Exit ITALIAN Boy, left. Enter, nght, HEBREW Man 
bowed by sorrow; heavy pack on shoulder. Music, 
“Kol-Nidrev’ (Hebrew Ritual Melody) is played 
on violin.| (Music page 88.) 

Stay, are we doing you wrong 

Calling you “scum o’ the earth,” 

Man of the sorrow-bowed head, 

Of the features tender yet strong,— 

Man of the eyes full of wisdom and mystery 
Mingled with patience and dread? 

Have not I known you in history, 


Kol Nidrei 


Rae 
3 | HR) ; | 
= pee gs 
3 Al) 
P Eas Wt 
: i NAIA NY |W IL fill IT} 
“KS [Hh | ll 
i ‘ eal ut i | 
Pf i 
it lr ie 
ait iS 
ing 
ihn mtr it 
| He RR 
iil Holey We IU 
ss | | ry) 
BP i IE 
He ai a Ho Wl W 


Ce ae ee ee ee 


THE GATE OF THE WEST 89 


Sorrow-bowed head? 

Were you the poet-king, worth 

Treasures of Ophir unpriced ? 

Were you the prophet, perchance, whose art 

Foretold how the rabble would mock 

That shepherd of spirits, ere long, 

Who should gather the lambs to his heart 

And tenderly feed his flock? 

Man,—lift that sorrow-bowed head . . . 

[He lifts head in supplication. ] 

Behold, the face of the Christ! 

The vision dies at its birth. 

You ’re merely a butt for our mirth. 

You ’re a “sheeny’—and therefore despised 

And rejected as “‘scum o’ the earth.” 
[Hesrew MAN evitsleft. Without music. ] 

Countrymen, bend and invoke 

Mercy for us blasphemers, 

For that we spat on these marvelous folk, 

Nations of darers and dreamers, 

Scions of singers and seers, 

Our peers, and more than our peers. 

“Rabble and refuse,” we name them, 

And “scum o’ the earth,’”’ to shame them. 

Mercy for us of the few, young years, 

Of the culture so callow and crude, 

Of the hands so grasping and rude, 

The lips so ready for sneers 

At the sons of our ancient more-than-peers. 


90 DRAMATIZED FOLKWAYS 


Mercy for us who dare despise 

Men in whose loins our Homer lies; 

Mothers of men who shall bring to us 

The glory of Titian, the grandeur of Huss; 
Children in whose frail arms may rest 
Prophets and singers and saints of the West. 


Newcomers all from eastern seas, 

Help us incarnate dreams like these. 

Forget and forgive that we did you wrong. 
Help us to father a nation strong 

In the comradeship of an equal birth, 

In the wealth of the richest bloods of earth. 


[The assemblage sings “America the Beautiful.” ] 


COSTUMES 


GREEK YOUTH: Peasant blouse; short trousers; bright green 
sash. 

PotisH MotuHer: Bright printed head kerchief, full red skirt 
with embroidered border; heavy knitted shawl envelop- 
ing baby. 

CzEcH Fippier: Soft black tam, blouse with ruffled collar; 
trousers three-quarter length; black flowing tie. 
ITALIAN Boy: Baggy trousers, too large for him; cap over 

one ear; shirt ragged at the cuff. 

Hrsprew Man: Loose garment; pack on shoulder. 
der. 

READER: Simple draped robe of gray. 


OI 


FOUR FRENCH BALLADS 


FATHER WIsHES ME To Marry 
THE THREE PRINCESSES 
BE Not Too Harp To PLEASE, DEARS 
Tur Kine Orpers THE DruMs TO BE BEATEN 


The folk quality of these old French ballads is expressed in 
quaintness of costume, plaintiveness of melody, and in the char- 
acteristic pantomime. They are not to be sung as solos merely, 
but rather as interpretations growing out of the folk scenes. 


oy 


inh 


FATHER WISHES ME TO MARRY 


opie ? 
oy ( . 
i 
4 
5 
oe i 
My 
rant a 
“i 
{ 


“THE PLAYER 


Tue Lirrte SHEPHERD Girt 


( 
y 
’ 
. 
le 
b3 Leet 
i 
i 
\ f 
3 , 
s 
{ 
f ; ; 
a Sif 
: F 
ray) 
j ; : 
A “ f 
5 i iio 


FATHER WISHES ME TO MARRY 


Part of the charm of this little ballad of one verse and two 
choruses lies in its brevity—a whiff of life from old peasant 
France. 


SCENE: Outdoors, of course! 

Music: [The music is played through once as THE LITTLE 
SHEPHERD GIRL dances from behind shrubbery, left, 
down center front, quite close to the audience, and, in 
confidential manner, sings her story. | 

Father wishes me to marry, 
Father wishes me to marry, 


A handsome shepherd lad. 


Chorus. 
Yea, I skip and dance 
A joyous dance 

And sing a marriage song. 

I turn my spinning-wheel 

And guard my sheep from wrong. 

[During second chorus, LITTLE SHEPHERD GIRL dances 

off, right. As she finishes chorus, up-stage right, she 
faces audience, curtsies coyly, and runs off. | 


COSTUMES 


Costumes for the ‘French Ballads” may be fashioned after 


the illustrations. 
97 


Mon Pére Me Veut Marier 
M.M. c= 120. Allegretto Moderato 


1. Mon pé - re me veut ma - ri-er, Mon 
2. A - vec le plus jo - li ber-ger, A - 
3. Un obra - ce-let il ma _ don-né, Un 
4. Un de - miceintd’ar-gent do-ré, Un 
5. A - vec. l’agraffe aA mon  c6-té, A- 
6. Un beau cor-set tout sa - ti- né, Un 

. Le ba - vo-let bien em - pe-sé, Le 


re me veut ma - ri-er A- vec le plus jo- 
vec le plus jo - li ber-ger: Un bra -ce- let il 

bra - ce-let il m’a don-né, Un _ de - mi ceint d’ar- 
de - miceint d’ar-gent do-ré, A - vec la-graffe a 

vec l’a-graffe a mon cd-té, Un beau cor - set tout 
beau cor-set tout sa - ti-né, Le ba - vo- let bien 
ba vo-let bien em - pe-sé, Et la cot-te de 


Mon Pere Me Veut Marier—Concluded 


sos ee Se Ron RIA Goria Gcuvay Gane NOaa” Maal eel SOLO" Maes eee 
| te 7 Sateen mama ta TER a EE ee sere ae 
CREE a ES NG EE PT TE PL 

li ber - ger, A - vec le plus jo - li_ ber - ger. 

m’a don - né, Un bra-ce - let il m’a don- né. 

gent do - ré, Un de- mi ceintd’ar-gent do - ré. 

mon cé6 - té, A - vec l’a-graffe A mon cd - té. 

sa - ti - né, Un beau cor- set tout sa - ti - né. 

em - pe - sé, Le ba- vo- let bien em - pe - sé. 

da - mas - sé, Et la-cot-te de da- mas - sé. 


ne eae a 


a Ne Basak Ge eas 
7 Tai We A iS) 4S by Bo See ee 


Spree 7 a oe” CES TEN MATTER 
we ve Ce 


sau-te,je dan-se,Je vaisencadence, Et je dis meschan- 


er Ne | Gr iw 2S BPS ee ae aS = 
Sy Sa De a hs 8 Be A ae 
A LES Sa a = =| 


) — 


Kt 
waiter 


Ix 
x’ 
‘vat 


ie TL 


THE THREE PRINCESSES 


bbe A RS 


First PRINCESS 
SECOND PRINCESS 
THIRD PRINCESS 

Two SmaLtL MoorisH PaAGEs 


THE THREE PRINCESSES 


This old ballad has a piquant charm. The little Moorish 
pages, the richly gowned Princesses, the constant sound of 
drums in the distance, give us the atmosphere of the old 
romanticism of France. 


SCENE: An open green. 

[After the introduction is played, THE THREE PRIN- 
CESSES, followed by two MoorisH PacEs, enter, left, 
singing first quatrain. THE PRINCESSES flutter thet 
fans rhythmically as they sing. | | 


Tue THREE PRINCESSES 
In our father’s garden,— 
Be still, be still, my heart, be still,— 
In our father’s garden 
There stands an apple-tree. 
So large and laden, 
So large and laden 
Is that apple-tree. 
[Tue PRINCESSES courtesy to the audience and seat them- 
selves gracefully on the ground. The Paces hold 
parasol over them, and sing the following] 


THe PAGES 
Three Princesses so fair,— 


Be still, be still, my heart, be still,— 
102 


DRAMATIZED FOLKWAYS 103 


Three Princesses so fair 
Recline within its shade, 
So sweet, demure, 
So sweet, demure, 
Each lovely royal maid. 
[First Princess looks afar off and listens. Tur Paces 
hold parasol over her. | 


Tue PAGEs 
So says the first— 
Be still, be still, my heart, be still— 
So says the first. 
[Music suggests the beating of drums. | 


First PRINCESS 
I hear a martial air, 
Quite faint and far, 
Quite faint and far, 
I hear a martial air. 
[SEconp Princess listens. The Paces shade her with 
parasol. | 


THE PAGES 
So says the second— 
Be still, be still, my heart, be still— 
So says the second. 


SECOND PRINCESS 
I hear the sound of drums, 
Quite faint and far, 
Quite faint and far, 
Lo! the army comes. 


104 FRENCH BALLADS 


[Tue Turee Princesses rise and look off left. The 
Paces step back and shade THIRD PRINCESS. | 


THE PAGES 
So says the third— 
Be still, be still, my heart, be still— 
So says the third. 


Tuirp Princess [Shading her eyes] 
It is my beloved, 
My own true love, 
My own true love, 
It is my beloved. 
[Tue TuHree PrINcEssEs advance a little to left, facing 
imaginary passing army; they wave their little lace 
handkerchiefs and weep softly as they sing | 


Tue THREE PRINCESSES 

He is marching off to fight,— 

Be still, be still, my heart, be still,— 
He is marching off to fight, 

My own true love, 

My own true love, 
To war for love and right. 
Should he lose or should he win,— 

Be still, be still, my heart, be still,— 
Should he lose or should he win, 

My own true love, 

My own true love, 
Ever will I love him. 


DRAMATIZED FOLKWAYS 105 


[Tue PRINCESSES exit quietly, still waving, as they re- 
peat last verse.| 
Should he lose or should he win,— 
Be still, be still, my heart, be still,— 
Should he lose or should he win, 
My own true love, 
My own true love, 
Ever will I love him. 
[The Paces follow. | 


Derriere Chez Mon Pere 


Allegretto p 


Der - riér’ chez mon 


Ral 
Ea Ine 23° Geel Por a 


eee 
2) De |_| TD, A) WY 
>" CELLS A EE EE SH 


5 ee 
Re ee eee 
a eS eee 


Derriere Chez Mon Pere—Concluded 


qq ————— __ f aiempo 


J 02i JU Se Ss SER aS ee EE 2 (a Eo eee ea 
(40 @ Ba y= —-0—_ 9 — 4 a 
2B RSE BAe ea 

lou! Lb, cyan ia. sun? «tour! 
Fo eee 
ay. aah f 

SS i LL mannan sma ued | 
i (25° 2. “~~ ee “ae ee ee | 
yO ee | ee ee Ue Rt ; 

: a es ee | : AS 


cS. eS re | 


Bee 4. = - - - * senza Ped. eee 


Mh 


| 


' 

i] 

\ 

' 

= 
pee 
— 
acco 
—— 
—_ 
— 
——} 


j | 
"| 


Poet LOO HARD TO PLEASE, DEARS 


Aiea A TAS 


S1x MAIDENS 
An OLp GENTLEMAN 


BE NOT TOO HARD TO PLEASE, DEARS 


Here we have experienced age counseling youth in the af- 
fairs of the heart, and youth, as ever, skeptical. 
ScENE: On the way to the well. 


[The music is played through once, as two MAIDENS en- 
ter, left, carrying water-pitchers. One 1s telling the 
other excitedly about a new gown. Enter, left, a 
little MAIDEN trying to tug a water-pitcher much too 
large. She tries to attract the attention of the big sister, 
who, listening, is too absorbed to notice. The little sis- 
ter pulls at her skirt. Unsuccessful, she goes back 
pouting. From right, walking rhythmically, enters 
MAIDEN carrying full water-pitcher on her shoulder. 
Two others follow, first MAIDEN carrying pitcher, and 
second MaIpEN dancing ahead to show her new slip- 
pers. Both groups meet at center, greet each other, and 
are about to pass on when AN OLp GENTLEMAN, lean- 
ing on his cane, appears up-stage center. They gather 
about him as he sings in “grand manner:’ | 

Be not too hard to please, dears, 
When some gallant comes to woo. 

You may spend your youth in tears, 
Should none make love to you. 


‘Be not too hard to please, dears, 
110 


DRAMATIZED FOLKWAYS 111 


When some gallant comes to woo. 
‘Be not too hard to please, dears, 
When some gallant comes to woo. 

[During the interlude, the pantomime is as follows: two 
MaIpENs turn aside giggling, two listen with feigned 
politeness, while the other two hang their heads in em- 
barrassment, as the OLD GENTLEMAN addresses them. | 

Be not too hard to please, dears, 
When some gallant comes to woo. 
An offer once refused, 
May ne’er return to you. 
‘Be not too hard to please, dears, 
When some gallant comes to woo. 
'Be not too hard to please, dears, 
When some gallant comes to woo. 

[THE OLp GENTLEMAN hobbles off, waving: his cane ad- 
monishingly while singing the last lines. The MaIpENs 
laughingly repeat the chorus. They pass each other 
and go off in opposite directions. | 


Gardez-vous D’Etre Severe 


M.M. . = 76. Andantino 


1. Gar dez-vous dé - tre Quand on vous par - 
2. Gar dez-vous dé - tre Quand on vous par - 


Vo-tre coeur, jeu 
Un plai-sir que 


Gardez-vous D’Etre Severe—Continued 


RES Te 

Be eee Se 

L io BSE Red Ci A Ee ee Oe 

2) Se. Es PE Pe ee 
[SESS ees is 


S’en re-pen-ti - rait...... 
Se perd sou-vent sans..... 


Gar-dez-vous dé - tre Quand on vous par - 
Gar-dez-vous dé - tre Quand on vous par - 


le d’a mour. Gar-dez-vous dé - tre sé 
le d’a mour. Gar-dez-vous dé - tre sé 
 ) as 
VE Sa ed eee he ee ee! EE Fl I es pe 
x a a >| 5 ——=| gj, —-—_*}— —=} —_} 
(i Re ALS” el | TREATS , Rete Irae 
)—_____©___#@ _—|---_--_——@\— RS Sees Eee ae ee 
eo 
cresc. mf 
ai Pease Sone eee 82 fo ee eee BP ra ee 
eo? _t—_—_———— | -— 
eee eee 


Concluded 


>) 


vere— 


- 


A 


Gardez-vous D’Etre 


mour.. eee 
mour.. eee 


d’a 
d’a 


Quand on vous par - le 
Quand on vous par - le 


re, 
re, 


THE KING ORDERS THE DRUMS TO BE 
BEATEN 
THE PLAYERS 


THE KING 


THE QUEEN 


THE JESTER 


THe DUKE 


Tue DucHESsS 


SEVERAL COURTIERS 


THE KING ORDERS THE DRUMS TOsEe 


BEATEN 
[ The JESTER sings the entire ballad for the action indicated 
below. | 
ScENE: The Court. Tur Kine and QUEEN are seated on 
throne. 


THE JESTER 
“Beat the drums,” commands the King; 
“Beat the drums,” commands the King; 
“All my court together bring 
To pay homage to their King, 
To pay homage to their King.” 

[THE JESTER, seated on dais to left of THE KING, 
descends throne, and, with much flare, goes to right, 
beating drum. SEVERAL CourTIERS approach. THE 
JEsTER bows himself back to dats, left, singing: 


THE JESTER 
All the court together come 
In answer to the martial drum. 
The Duke and Duchess, hand in hand, 
The loveliest lady in the land, 
The loveliest lady in the land. 

CHORUS 
Rat-a-plan-rat-a-plan-plan-plan-plan-plan, 
Rat-a-plan-rat-a-plan-plan-plan-plan-plan! 

116 


DRAMATIZED FOLKWAYS ey 


[SEVERAL CourTIERS enter, bow before the royal pair, 
and retire to background. Enter, right, THE DUKE 
and DucHESS; they stand on threshold for a moment as 
THE DUKE bows and makes way for THE DUCHEss to 
enter. | 


THE JESTER 
When once the King the Duchess spies, 
His heart within him boldly cries: 
“Oh, I must have her for my own, 
To share with me my royal throne, 
To share with me my royal throne.” 

[THE DucHEss comes to the throne and courtesies to 
THE Kinc. THE DUKE follows. THE King, startled 
by the beauty of THe DucHEss, rises and bows deeply. 
THE JESTER mimics action. Tur DucHEss, embar- 
rassed by the steady gaze of THE KING, turns toward 
THe Duke. Entire court watches. THE JESTER por- 
trays his feeling of foreboding in his singing of the 
chorus | 

CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan- 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 


THE JESTER 
The King speaks out in accents bold, \ 
The King speaks out in accents bold: 
“Who is this beauteous lady fair?” 
“She is my wife, this lady fair; 
She is my wife, this lady fair,” 


118 FRENCH BALLADS 


CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 
[THE DuKE and DucHEss bow to each other and then 
bow in homage to THE Kina THE JESTER bows to 
the ill-fated DUKE and DuUCHESss. | 


THE JESTER 
“Give her to me,” the King demands, 
“Lord you shall be of all my lands.” 


[THE DUKE with impotent rage | : 
“Were you not King, for this you’d pay; 
But since you ’re King, I must obey. 
Yea! since you ’re King, I must obey.” 


CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 

[Tue Kine is majestic; THE QUEEN bristles with jeal- 
ousy; THE DUKE 1s crushed; THE DuCHEss 1s fright- 
ened; the court horrified; THE JESTER, distrustful, 
watches THE QUEEN. | 


THE JESTER | 
The Queen, in silent jealousy, 
Arises in her majesty, 
[Offers bouquet of flowers to THE DucHEss. ] 
“T do beseech you, Duchess fair, 
Accept these fragrant flowers rare. 
Accept these fragrant flowers rare,” 


DRAMATIZED FOLKWAYS 119 


CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 
[Tue Duxe and Ducuess embrace in farewell. THE 
QUEEN, with feigned graciousness, offers flowers. 
THE JESTER is suspicious. | 


THE JESTER 
' The Duchess meekly bows her head, 
And reaches for the roses red. 
Their poisonous fragrance fills the air. 
The Duchess swoons—the Duchess fair— 
The—Duchess—dies—the—Duchess—fair ! 


CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 
[Tue DuKE prostrates himself beside THE DUCHEsS; 
Tue KInG is dazed; THE QUEEN defiant; THE JESTER 
bewails the tragedy as he repeats chorus. | 


CHORUS 
Rat-a-plan, rat-a-plan-plan-plan-plan-plan 
Rat-a-plan, rat-a-plan, plan, plan, plan, plan! 


[CurTAIN ] 


Le Roi Fait Battre Le Tambour 


iiss 
‘ I 


ey 
: : : 
bly 

| 


VERSE. a tempo 


¢ 
Ng TT i il 
i 5an ih. yb 
My ow 
3 | > 
§ | 5 nm or | { 
S Ihe | 
Ar Bot RM | 
; Y mit air | 
HE o te @ PE o 


Le Roi Fait Battre Le Tambour—Concluded 


tM 1 ei ee ee ee BSS Gi eer FP BS eee 
5 Pe Bl ee PS | af SERED | A A 

fio T 2 a eR Be eS BP Lie SS ARS Ed Se eee 
ES) ‘| {CR SS Wt 2 eS RES 


| Interlude before each verse, then use same for finish. 


an - “| on 
‘LL Uae ee ee ee 
A 


| 

SSS ee 7 SEES EE Ee ES 

ib UA rn ee ee a I ee ne a 
S27 + _g—___f AZ ASS! Ee SRE EES i 


rN 
iC. ae SSS ae ee Eee eee a 
wt a aS Ae 0 a ——_ jane” v 
fas =] ee SS i 
a 222 (ey See t 


ts 


HINDU WEDDING CEREMONY 


THE PLAYERS 


BRIDE 
GROOM 
Two PRIESTS 
SERVING WOMAN 
Six NautcH Mamens 
Court MusIcIaAn 


HINDU WEDDING CEREMONY 


The following is one of the various marriage festivals 
among the Brahmin of India. It is, of necessity, abridged, 
since the usual wedding fétes continue through an entire week, 
allotting long devotional rites to each day. 


Music: The music for this ceremony has been taken from 
Ratan Devi’s “Thirty Indian Songs,” an initial effort to 
record the hitherto unwritten music of India. 

ScENE: A room in the BripE’s home, bowls of burmng 
incense. Dats, as indicated in diagram on page 136, at 
back of stage. Two cushions for WIsE MEN at right 
of dais. Seven cushions at left for NautcH MAIDENS 
and SERVING WomAN; flowers strewn on stage and 
das. 


PROLOGUE FOR WEDDING CEREMONY 
[THE Court Musician enters, right stage, comes to cen- 
ter, reads the Prologue, and then sits on steps before 
curtain, left, and plays on Mus stringed instrument the 
music for the ceremony. The melody may be “picked” 
on a violin or a guitar, as a substitute for the “Sitar” 
used in India. | 


PROLOGUE 
In paths of righteousness may Brahmin tread, 
And high esteem the high deserving wed. 
May kine yield streaming milk, the earth her grain, 


And may the heaven give never-failing rain, 
125 


126 DRAMATIZED FOLKWAYS 


Praise 
M.M. eee 104. 
Tranquillo e legato Hindu Melodies 


f) 
SELES ED EEE EPL S ESE TRA R PT BRS WE ee 
GP. QUE Ee RD ) ee) ee TY ST RE A NE ee 
Of (ao, WER SURE ESS BE A <a Le Rae Fe 

SU Zz Bite ees BA = 


HINDU WEDDING CEREMONY 127 


‘The winds waft happiness to all that breathes, 
And all that lives, live free from pain. 


BRINGING THE GIFTS 
Pan 


M.M. 


A 


66. Ben marcato 
A 


[Enter, left floor-space, First NautcH MaInEn, carry- 
ing a bowl of blessed rice covered with a spangled veil, 
her gift to the BripE. Dancing with Oriental rhythm, 
she ascends the steps leading to the stage and ceremoni- 
ously lays the bowl beside dais, dances down steps and 
off right floor-space. Simultaneously with her exit, 
enters SECOND Nautcu Marpen, left floor-space. She 
lays her gift, a bronze bowl of burning incense, at foot 
of dais and dances off right in same manner. Next 
enters THIRD MAIDEN bringing beautiful necklaces of 
pearl, crystal, jade; same action. Enter Fourtu 
Maren, left floor-space, carrying pearl anklets, and 
crystal bangles; she follows same action to dais and 
dances off, right.]. 


128 DRAMATIZED FOLKWAYS 


THE FINAL PREPARATIONS 


Love Song 


M.M. g=72. Lento, con espressione 


[Enter, left, Tue Brive, who dances exultantly to dats. 
Her SERviNG WomaN follows. Brive turns slowly as 
SERVING WoMAN surveys her attire with minute care. 
BRIDE discovers the gifts and examines each with de- 
light, dons new anklet and drapes spangled veil over 
her face. Brie runs to right, hears priests approach- 
ing, and dances off, left, in great excitement. SERv- 
ING WomAN follows, turning to give a last look at the 
marriage setting. | 


THE SOLEMN WEDDING RITES 
Marriage Song 


HINDU WEDDING CEREMONY 129 


[Enter, right, two priests in solemn processional, arms 
folded over chest. They ascend steps and seat them- 
selves on cushions, oriental fashion. Enter, right 
floor-space, BRIDEGROOM, face veiled. Six Nautcu 
Maipens follow, carrying cymbals. BRIDEGROOM ad- 
vances to dais, turns and faces audience, while MAIDENS 
‘group to right of dais. ] 

Invocation 
M.M. J=76. Lento e sostenuto 
eee 


[BripE enters, left floor-space, face veiled; SERVING 
Woman follows her, carrying bakulas (“garlands of 
flowers woven by the hands of love’). Brier walks 
slowly to dais while SERvING WomMAN steps back into 
group, right. BripE and Groom sit on dais. NAuTCcH 


MAIDENS sit on cushions. BripE and Groom bow 
their heads solemnly. NautcH MarpENs eviend their 
arms forward and lower their heads. First Priest 
rises, lifts arms over his head three times to invoke the 
propitious deities, folds arms, and remains standing. 
SECOND Priest rises, lifts bowl of rice, scatters a few 
grains over BRIDE and Groom. Repeats thrice, bows 
before the imaginary deities, “pranam.” First PRIEST 
unveils BRIDEGROOM. SECOND PRIEST unveils BRIDE. | 


130 DRAMATIZED FOLKWAYS 


THE WeEppDING DANCE 
[NautcH MAIDENS rise impulsively and dance, beating 
cymbals. They bow to the wedded pair. SERVING 
WoMAN strews flowers over all present. | 
Note: No musical instrument is used here. The tinkling 
of anklet bells, the clash of cymbals, and the jingling of brace- 
lets create the subtle rhythms of the wedding dance. 


THE WEDDING DANCE 

First Figure: Clash of cymbals, accented turn about left 
foot. Clash of cymbals, accented turn about right foot. 

SECOND FicurE: Clash of cymbals over head—turn of 
whole body toward right. Clash of cymbals over head—turn 
of whole body toward left. 

THIRD Figure: Spiral turn of body—right hand holding 
cymbal over head. Spiral turn of body—left hand holding 
cymbal over head. 

FourtH Figure: Clash of cymbals behind back as head is 
thrown forward—anklets accent the rhythm. Clash of cym- 
bals forward—as head is thrown back. 

FirtH Figure: Sudden whirl, left, with clash of cym- 
bals. Sudden whirl, right, with clash of cymbals. Whirls 
grow faster and faster until MaIpENs come to an abrupt stop 
and bow before BripE and Groom. 


(CuRTAIN ) 


COSTUMES 


BRIDE: White pantalettes; head, face, and torso veiled in soft 
white materials; yellow flowers in head-dress. 

Groom: White tunic; pantalettes; white turban; gold sash ; 
white veil over face. 

Priests: Tunics of white, gray, or striped fabric; turbans 
of same material. 

SERVING WomAN: Rose-colored sari (circular skirt) ; draped 
head scarf of metal cloth (cheese-cloth mottled in silver 
and gold). 

Stix Nautcu Marpens: Saris and short bodices of harmon- 
izing colors; anklets; jeweled head scarfs. 

Court Musician: Tunic of white-and-gold fabric; turban of 
same material. 

Note: Tunics are draped over waist, right shoulder ex- 
posed. 


131 


STAGE DIAGRAM 


A BrIpE 

B BrIDE-GROOM 

1 First PRIEST 

2 SECOND PRIEST 

3 SERVING WoMAN AND Six NautcH Marpens 


RUSSIAN FOLK PANTOMIMES 


A PEASANT BETROTHAL 


A DANCE oF RECONCILIATION 


These unrecorded sketches of Russian Folkways are inter- 
esting for their homely humor and their back-to-the-soil real- 


ity. 


A PEASANT BETROTHAL 
THE PLAYERS 


PEASANT YOUTH 
PEASANT GIRL 


A PEASANT BETROTHAL 


SCENE: A clearing in a wood; two tree-stumps (or rocks). 
at back. 

[Enter, right, PEAsANT YouTH playing accordion; he 
walks with measured step to tree-stump, left, and sits 
laboriously. He continues playing and stares vacantly 
before him. Enter PEASANT GIRL, right, with lolling 
gat and stolid expression. She comes to center left 
and delves into an inner pocket for sunflower seeds. 
Having meticulously separated kernel from shell, she 
emits bits of shell noisily. She eats another. She 
turns, goes to stump, right, and sits without looking at 
YoutTH, not greeting him in any way. YoutTH plays 
“Shining Moon’ in faster tempo. GrrL extends her 
foot and taps in time to the music, smooths her ker- 
chief, adjusts her scarf, fastens her apron-strings, wipes 
her cheek roughly with the back of her hand, and rises. 
Without change of facial expression, she dances (steps 
given below). At finish of dance she stands at left of 
stump and folds her arms placidly. YOUTH rises and, 
still playing on his accordion (same music), dances a 
wild kozatchok (jig). But the Girv feigns indiffer- 
ence to her lover's astonishing leaps and whirls. They 
exit together very slowly, he playing Ms accordion, 
and she munching sunflower seeds and emitting the 
shells over her right shoulder. Neither of them 1s 
guilty of the legge daa ehAy YD) looking at the other.] 


Shining Moon 


Russian Peasant Dance 


RUSSIAN FOLK PANTOMIMES 137 


PEASANT GiRL’S DANCE 

First STEP: Body bent toward the right, right arm ex- 
tended—eight running steps to right; bringing heel of left 
foot to heel of right. Repeat same action to the left. 

SECOND STEP: Arms folded; right foot placed back of 
— left; left foot placed back of right, and so on for eight counts 
(up stage). 

Arms folded; left foot placed in front of right, and so on, 
coming down stage. 

Tuirp Step: First step repeated at oblique angle right; 
same to oblique angle left. 

FourtH Step: Dance finishes without flare; Girt walks 
listlessly to left of stump. 


DANCE OF RECONCILIATION 


THE PLAYERS 


First GIRL 
SECOND GIRL 
TWELVE WEDDING GUESTS (MEN AND WOMEN) 


The Peasant Wedding, with its great hilarity and abandon, 
is a marked contrast to the serious tone of the betrothal. In- 
deed, all present are expected to sustain the highest pitch of 
gaiety; and if any present have quarreled, they are obliged to 
go through a ceremony of reconciliation. 


DANCE OF RECONCILIATION 


ScENE: Bride’s home. 
Music: Breiges Tanz. 

[Enter GirL, right, sees group of friends, rushes toward 
them, and greets them effusively. She turns abruptly 
and beholds her “arch enemy” entering, right. Each 
turns her back upon the other. The two factions jo- 
vially push each quarreler until they touch back to, 
back. They jerk away from each other, not yet ready 
for conciliation. First Giri takes an ornate comb 
from her har and dances forward to offer it. SECOND 
Girw refuses it with a defiant toss of her head. First 
GIRL, piqued, dances back to former position; SECOND 
GirL, relenting, selects a flower from her corsage and 
offers it. It is refused, but with less disdain, SECOND 
GirL smiles and replaces it in corsage. First GIRL 
smiles sheepishly, but netther accepts nor refuses, and 
steps back. SECOND GIRL offers silk kerchief. It is 
refused. Each Giru removes her ring, turns, and offers 
at to the other. First Gir holds her ring igh above 
the reach of SECOND GIRL, who stretches frantically to 
get it. Both laugh. SECOND GIRL offers hers in same 
manner. Both laugh; and quite “make up,” throw their 
arms about each other, and kiss on both cheeks in true 
Russian manner. They put on exchanged rings, kiss 
again, and, faciig in opposite direction, take hands, 
whirl, fishing abruptly. They dance a Wengerke 
(given below) for the cheering factions, and exit laugh- 
ing, arms about each other. 

139 


Wengerke 


Allegretto Ot Slavic Dance 
1 | 4 : 2 
|e 4 | | 

Arla OF Oe Fe oi 

min i) cg 6 7 (a SOEs ae a le 

WF - Re Si ee. 


oe = —— —- es 

: Ea Re Rn ee AI TU 

2k Cees Os EG os _. He. (IR 
et, - 


RUSSIAN FOLK PANTOMIMES 141 


Wengerke—Concluded 


4. - 
Wi. Vl lee Be Re ay ee ee Daath nti a A 2 Ae 
KC) "asain ones —prserore seed : 4 
S050 22) ——-—— Bs -_____—— - 


| 


WENGERKE 

First Figure: Partners A and B clasp hands crosswise, 
dance left eight counts (an accented walk). Left foot taps to 
front, side, back; turn about left foot, finish with click of heels 
(eight counts). Same steps for eight counts. 

SECOND FicurE: Partners face each other, holding hands. 
A hops eight counts (up stage), with click of heels after each 
count, as B walks along beside her. Turn-about right foot, 
tap to side, front, back, and click of heels. Partners turn and 
repeat steps; B hops eight counts as A walks beside her. 


THirD Figure: Repeat first figure; end with fast turns and 
low bows. 


142 DRAMATIZED FOLKWAYS 


Breiges Dance 
Andante moderato 34 Folk Melody 
3 ea : 


a a a 7 a Pal @ Ewe ~@2%. | 
Lt re tL ee Se ee 
TS  , 2 A ees ee 


ae \ Oe re | 
‘=a md CS A SOS ONG Rint elena ioNAeS An Oea Lv dae 
> a ee ee a ae La 


Repeat D.C. several times, then No. 9 
16 


COSTUMES FOR “PEASANT BETROTHAL” 


Woman: White peasant blouse; full red skirt; white hose, 
black slippers; apron of gaily printed material; bright 
neckerchief and head scarf. 

Man: Red blouse; dark knickerbockers; black skull-cap; 
boots. 


COSTUMES FOR “DANCE OF RECONCILIATION” 


Girts: Full skirts of red or yellow; white peasant blouses 
with gaily colored ribbons hanging loose from back of 
neckband; white hose, black high-heeled slippers; 
colored beads. 

WeEppINnG Guests: Costumes similar to those above (see 
Costume Book). 


143 


d 
‘ 
oe ; Bes 
> rr, ‘ 
% 
‘ 
. 
fi 
h t 
x \ 
; 
¢ ” 
4 
. 
i 
—— 
Fi 
—— 


“THE WRAGGLE TAGGLE GIPSIES, 0” 


The following is suggestive of a colorful way of using the 
old English ballads, many of them already known to young 
people. The Players pantomime the story sung by the assem- 
blage. 


THE PLAYERS 


THE Lorp 
Tue Lapy 
A SQuIrE 
THE GIPSIES 


“THE WRAGGLE TAGGLE GIPSIES, 0” 


ScENE: A back-drop of gray 1s painted to sug- 
gest a castle. As the curtains are drawn 
THE Lapy 1s seen at the castle window, a 
square cut in the back-drop. 


SCENE | 
[THREE GIPpSIEs stand beneath the castle 
window, luring the Lapy with their 
songs. | 


ASSEMBLAGE 
1. Three gipsies stood at the castle gate, 
They sang so high, they sang so low, 
The Lady sate in her chamber late, 
Her heart it melted away as snow. 
2. They sang so sweet, they sang so 
shrill, 
That fast her tears began 
to flow. 
And she laid down her silken 
gown, 


Her golden rings and all 
her show. 
3. She pluckéd off her high- 
heeled shoes, 


A-made of Spanish leather, 


O. 
147 


148 DRAMATIZED FOLKWAYS 


She would in the street, with her bare, bare feet; 
All out in the wind and weather, O. 

[Tur Lapy removes her jewels and silken cape. She ex- 
presses desire to share the life of freedom of which 
they sing. Quick curtain. | 


4. It was late last night when my lord came home, 
Enquiring for his a-lady, O! 
The servants said, on every hand: 
“She ’s gone with the wraggle taggle gipsies, O!” 
ScENE II 
[THE Lorp is seen at the castle window. He is dis- 
traught; gestures to A Squire below:] 
ASSEMBLAGE 
5. ‘“O, saddle to me my milk-white steed, © 
And go and fetch me my pony, O! 
That I may ride and seek my bride, 
Who is gone with the wraggle taggle gipsies, O!” 
[Curtain] 


Os; he rode high, and he rode low, 
He rode through wood and copses too, 
Until he came to an open field, 
And there he espied his lady, O! 
[ Repeat verse 6.] 


SceneE III 
[Back-drop has been removed. THE Lapy 1s seated on 
the ground with the Gipsies. The Lorp beseeches:] 
ASSEMBLAGE 


7. “What makes you leave your house and land? 
Your golden treasures for to go? 


“THE WRAGGLE TAGGLE GYPSIES, 0” 149 


What makes you leave your new-wedded lord, 
To follow the wraggle taggle gipsies, O?” 
[The Lapy rises and, with charming defiance, panto- 
mimes. | 
8. “What care I for my house and my land? 
What care I for my treasure, O? 
What care I for my new-wedded lord? 
I’m off with the wraggle taggle gipsies, O!”’ 
[Lorp, protectingly | 
g. “Last night you slept on a goose-feather bed, 
With the sheet turned down so bravely, O! 
And to-night you ’Il sleep in a cold open field, 
Along with the wraggle taggle gipsies, O!” 
[Lapy, with fervor] 
10. “What care I for a goose-feather bed, 
With the sheet turned down so bravely, O? 
For to-night I shall sleep in a cold open field, 
Along with the wraggle taggle gipsies, O!” 
[ CURTAIN ] 
The Wraggle-taggle Gipsies, O! 


Allegro commodo English Folk Song 


COSTUMES 


Tue Lapy: Princess gown of blue; silk hooded cape of 

gold color; pearl necklace; rings. 

THREE GripsiEs: Full skirts of bright colors; bright ban- 
dannas on head and about waist ; beads; round gold ear- 
rings. 

Tue Lorp: Green doublet; tan hose; green cape lined with 
tan; green hat with tan plume. 

A SqurrE: Gray doublet and red hose; gray cape lined with 
red; red tam with plume. 


150 


JAPANESE LIFE SCENES 


Juty—Tue Feast or LANTERNS 
AUGUST—SUMMER IN KyoTo 

SEPTEMBER—I1HE FEAST OF CHRYSANTHEMUMS 
AT THE TEMPLE GATE 


In no other country do we find poetry and symbolism so 
much a part of every-day living. The Japanese have made 
ceremony of the niceties of routine—the arranging of flow- 
ers, the serving of tea, putting the child to sleep. So each day 
becomes a new setting for a never ending ritual. The Sum- 
mer Festivals here presented display devotion to the Celestial 
One, a unique love of nature, and a childlike spirit of merry- 
making. 


—__llelK 
<= I-ll/ 
S Iei7 
ge MITER 


((resarees 


Te 
Hilt 


<All 
=  \ 
— 


)\ ae ra 
NY 


=_ 
— 


——— f : = 
f i ~) fr 
cme! SAL 
'@ \ IN ~ 
. —s 


9 


PS 
Mf: 
<A 


IL AQ Vor 6 
NSS \y ae 


SNS MS 


Loa uk; Sas 
: i \ ‘e 


- a 
fod 
Lo | 


_ JULY—THE FEAST OF LANTERNS 


THE PLAYERS 


A Man 
A Woman 


TureEE MEN PEASANTS 


} LANTERN BEARERS 


THREE WOMEN PEASANTS 


THE FEAST OF LANTERNS 


SCENE: Green, with steps leading to stage. A back-drop 
upon which a Japanese scene has been painted adds to the 
effectiveness of the setting. 

Music:, Nutcracker Suite, Chinese Dance, Tschai- 
kowsky. 

[Enter, right, on green, PEASANT MAN; enter PEASANT 
Woman, left. Both carry lanterns. They dance with 
mincing step to center, bow, turn, raise lanterns over 
their heads, run up steps to stage, and recite in high- 
pitched voices. | 

“While we loudly dance and sing, 
Spirits of our dead return. 
Guided where the lanterns burn, 
In the houses they will find 
Flowers and water left behind, 
And sail in paper boats away 
Until next Bon Odori day. 
Peasants, come and join the ring; 
Peasants, come and join the ring.” 

[Enter, left, on green, three PEASANT WOMEN carrying 
lanterns and small fans. They run in characteristic 
manner to center, where they place lanterns and then 


quaintly dance the Fan Dance. (Directions given be- 
154 | 


DRAMATIZED FOLKWAYS 155 


low.) Enter, right, on green, three PEasANT MEN. 
They carry lanterns and large palm fans. They dance 
in grotesque attitudes and then turn, facing women. 
PEasAnT Man and Woman on stage descend steps and 
repeat verse. | | | 
“While we loudly dance and sing, 
Spirits of our dead return. 
Guided where the lanterns burn, 
In the houses they will find, 
Flowers and water left behind, 
And sail in paper boats away 
Until next Bon Odori day. 
Peasants, come and join the ring; 
_ Peasants, come and join the ring.” 


[THE Prasants dance about them (see illustration), 
then exit, right. PEASANT MANn and WoMAN in cen- 
ter run left and right peering into mysterious corners 
for “spirits of the dead,” then exit in opposite direc- 
tions. | 


Fan DANCE 


Music: Chinese dance, Nutcracker Suite, Tschaikowsky. 

First Figure: Fan in right hand; three taps of left foot, 
turn of fan (wrist movement). Fan in left hand; three taps 
of right foot, turn of fan (wrist movement). One turn 
about right foot, while fan is held over head with right hand. 
One turn about left foot, while fan is held over head, with left 
hand. 

SEconD Ficure: Left foot taps as fan is moved from 


156 JAPANESE LIFE SCENES 


right over head to left hip. Right foot ee as fan is moved 
from left over head to right hip. 

Tuirp Figure: Women face each other in triangle, tap 
fans lightly (four counts); turn left, fans over head, four 
counts. Repeat same movement, turning right. 

FourTH Ficure: Repeat first figure; here variations of 
postures with fans may be introduced; turn half-wheel right, 
fluttering fans. 


MeEn’s DANCE 
The steps of the Men’s Dance are the same, but the postures 
have a grotesque quality. 


COSTUMES 
Costumes for the Japanese Scenes may be fashioned after 
the illustrations. 


AUGUST—SUMMER IN KYOTO 
THE PLAYERS 


VOICE 
O SuyvE SAn 


SUMMER IN KYOTO 


VOICE 
Music: Japanese Folk Melody. 


Japanese Folk Melody 


The gods in drowsy temples hide 
From Gion to Kinkakuji, 
And drowsy is O Suye San. 
[Enter, right, O SuYE SAN, carrying a sun umbrella and 
fan. | 
Who hears no laughing maids and men, 
No tinkle of the samisen; 
[She walks listlessly across green to edge of stage, ascends 


steps diagonally, and gazes dreamily into the distance. 
159 


160 DRAMATIZED FOLKWAYS 


She remains standing on top step and gazes at her fan.] 
But dreams above her drooping fan, 
And dips a slow foot indolently in 
Kamogawa’s listless tide. 
[O SuvEe SAN disappears quietly off stage, left, as soft 
tinkle of bells pervades the air. | 


SEPTEMBER—THE FEAST OF 
CHRYSANTHEMUMS 


THE PLAYERS 


MoTHER 
CHILD 
SERVANT 


es 


fie 
(es 
fa 
|e 
HL 
2 
(B 
6 
g 
IC 
B 


ye apie 
ms age “ = 


THE FEAST OF CHRYSANTHEMUMS 


Music: Japanese Folk Melody. 


Japanese Folk Melody 


OS Tete AT SRRRA RETEST TTP RET age ma mp nae Re ear aan ates aca eerie oad 


[ Enter, left stage, a Japanese SERVANT, who carries two 
cushions. She places one center and one a little to the 
right. She runs left, returns with lacquered vase and 
three chrysanthemums, pink, yellow, and white; she 
places them in front of cushion, center, exits, and re- 
turns leading a little Japanese Cuitp. Enter child's 
MoTHER, left. SERVANT seats CHILD on cushion, 
right: MoTHER stts center, SERVANT stands back, cen- 
ter right. | 

MOTHER 
Too brief the cherry and the plum, 


And iris and wistaria brief ; 
163 


164 DRAMATIZED. FOLKWAYS 


But longer and more strong than they, 

In many-colored gardens trim, 

Or vases delicately slim, 

By dainty hands adroitly set 

With calculated stem and leaf 

And white or yellow coronet, 
The sovereign bloom asserts his sway, 
Imperial chrysanthemum! 

[As she reads, MoTHER takes each flower singly and ar- 
ranges tt in symbolic form, the white flower, soul of 
man, transcendent. Music: “Japanese Lullaby,” De 
Koven. MotTuHer draws CuHiLp to her and sings lul- 
laby; CHILD becomes drowsy, leans head on MoTHER’S 
breast, and falls asleep. At conclusion of song, 
MorTHER carries sleeping CHILD in her arms and exits, 
left, humming the last low strains of the lullaby. 
SERVANT silently removes vase and cushions and exits, 


left. ] 


AT THE TEMPLE GATE—A PANTOMIME 


Pio Play ERS 


(CHILD AS SCULPTURED FIGURE OF BUDDHA 
Two PRIESTS 
E1cHT WorSHIPPERS (men and women) 


— 


a 
ry 


ee a ba - ° 
. ri iz a ‘ 
ee = “\ ses 
af) f Taw ats ° 2 4 
PS oe : AN 


é 


——_ = 


Z 5 ~ 


7, (A 


WI bh 
a 


> 


AT THE TEMPLE GATE 


ScENE: A small screen at center of stage. 


[ Enter, left and right, Two TEMPLE PRIESTS, who remove 
screen silently. Animage of BUDDHA ts disclosed, with 
bowl of burning incense before tt. THE Priests bow 
reverently before the BuppuA and bend over bowl to bless 
the sacred incense, then step to etther side of BuppHa, 
heads bowed, and arms crossed. Enter, left and right 
of green, THE WoRSHIPPERS, who come by twos, heads 
bowed; they walk to center and prostrate themselves 
before the BuppHa. When all THe WorSHIPPERS 
are prostrate, they raise their arms over their heads, 
and then lower them to the ground im abject humility. 
They rise very slowly, ascend steps, each couple pausing 
a moment to inhale the blessed incense. They exit into 
the temple for worship. THE PRIESTS ascend steps, 
draw screen about the BUDDHA and proceed to the inner 
temple. | 


167 


PART III 


Allegories 


ae 
=~ 


e 


IZA 
SA) 


\) 
a 
\ nr Lo aa 
i! a a Os) /) 


LAN 
NS 
ANY A SS 
Wes 
a) 


WS 
— 


—= 


SS 


Ve 


Will 


; [a oe, 


{ 

| : 
WG 
ai 
iN 
a 

Sh 


| 


| IANS 


“i 


f AS | 
MENLO ¥ 
st s = ) ce 


| 
F 772 LIL AM: AW 
i SSS | 


i 
His 5 
| > oe oman am 7/7, 


eee Pert S a 
a ie 
Chet) % 
AN 
eu 


NEW WINDOWS—A PANTOMIME 


THE PLAYERS 


Tue CHILD 
IMAGINATION 
Music 
PoETRY 
DRAMA 
DANCE 


THE ARTS 


NEW WINDOWS 
SYNOPSIS 


In this pantomime we see the modern child who is bored. 
Her mood is, “Oh, what shall I do? Oh, what can I do?” 
IMAGINATION, lonely and neglected, comes to seek the com- 
panionship of THE Cuitp. She invites her into a world of 
fantasy and make-believe, but THE CHILp is not interested. 
IMAGINATION, disheartened, appeals to THE Arts-—Music, 
Poetry, Drama, and DANcE—to help her bring THE CHILD 
back to her natural interests. 

First, Mustc comes, playing an exquisite melody on her 
lute. THE CHILD is stirred by the beauty of sound; but soon 
lapses into her former indifference. 

PoEtTRY, seeking to reveal to THE CHILD all the wonders of 
nature, creates a poem for her, telling of the mystery of a blade 
of grass, a passing cloud, the full-throated song of a tiny spar- 
row, the symmetry of a snow-crystal. 

Next comes Drama, who portrays the struggle which chil- 
dren experience when their desires are frustrated. We see her 
conquer her disappointment. THE Cuitp is by this time 
aware that “‘the world is full of a number of things.” 

DANCE enters and invites THE CHILD to express her joy- 
ousness through rhythmic movement. THE CHILD responds 
and dances forth out of doors with IMAGINATION and THH 


ArTS, who have opened new windows into her soul. 
173 


174 ALLEGORIES 


(Note :—Definite words are used to express the idea back 
of each action. ) 

Music: Children’s Scenes, “Child Asleep,’ Schumann. 
[As curtain is drawn, THE CHILD is seen; she panto- 
mimes playing with ball, tires, walks to left languidly, 
reaches for doll, quickly discards it; comes to right, 
Where she finds imaginary book, rumples pages, and 
closes book with disgust. She abandons herself to com- 

plete boredom. | 


IDEA OF THE CHILD: 
Oh, what shall I do? What can I do? 
Music: “May Night,” Palmgren. 
[IMAGINATION enters, left floor-space, dejected, sees 
THE CHILD, expresses pleasure, ascends steps, and ex- 
tends arms to her. | 


IpEA OF IMAGINATION: 

Oh, come with me, Child, into my world. There you will 
play with pixies and gnomes, and see glow-worms light their 
tiny lamps. 

[CHILD 1s uninterested and shrugs her shoulders. Dis- 
couraged, IMAGINATION 1s spurred to action. | 


IpEA OF IMAGINATION: 
I must call the Arts to help me. 
[She runs forward to right and then left, summoning 
with arms outstretched. | 
Come, Music, come Poetry, Drama, and Dance! We have 
lost the Child, and we must restore her to childhood. 


NEW WINDOWS 178 


Music: Mazurka in A Minor, Opus 17, No. 4, Chopin. 

[ Enter, left floor-space, Music, playing on her lute. In 
rhythmn to her own music, she advances toward THE 
CHILD, swaying and circling. As she fimshes, she 
looks up expectantly. Tur Cutz, pleased, rises to her 
knees; but as Music ceases her playing, she slumps to 
her former state of boredom. Music, disappointed, 
drops her lute and steps into the background, left. | 

Music: “Poetic Tone-Picture,’ Opus 3, No. 4, Grieg. 

[ Portry enters, right, wrapt in dreams; comes to center 
foor-space and, upon seeing THE CHILD, pantomimes a 
newly created poem for her. | 


IpEA OF POETRY: 

The mystery in a blade of grass, a passing cloud, the full- 
throated song of a tiny sparrow, the symmetry of a snow- 
crystal. 

[THE Cuttp claps her hands in delight. | 

Music: Introduction to “Symphony Pathétique,’ Bee- 
thoven. - 

[Drama, with arms extended, comes forth trustfully, to . 
follow her desire. Interfering forces pull her back- 
ward; she struggles with them, pulls her arms free, 
and again goes forth. At this point, a great disap- 
pointment crushes her; she weeps disconsolately, but, 
with effort, gradually rises to her feet, draws herself 
to her full height, and faces THE CHILD, triumphant. 
THe CuILp, who has watched breathlessly, rejoices at 
the outcome of the struggle. | 


176 ALLEGORIES 


Music: Waltzgin A Flat, Brahms. 

[DANCE enters at this moment of elation. She imvites 
THE CHILD to dance with her. THE CHILD responds. | 

IDEA OF THE CHILD: 

[As she greets IMAGINATION and THE ARTs, each in 

turn. | 
Oh, my dear, dear friends! I will keep you with me always. 

Music: Presto Movement from Seventh Symphony, 
Beethoven. 

[All dance. Then TuE Cuitp breaks through the circle, 
and taking IMAGINATION as a partner, she leads THE 
Arts into the Outdoors. | 


COSTUMES 


THE CHILD: Simple white dress. 

IMAGINATION: Gown of rose-color, in graded tones. 

Music: Flowing robe of gray-blue, Grecian in effect; scarf 
of midnight-blue draped from left shoulder; silver 
head-band. | 

Tue Port: Grecian tunic of soft green. 

Drama: Gown of vivid orange. 

Dance: Yellow gown of Grecian design as above. 


177 


eS 
‘slit 
og WES 
awh Se fe 
¢ ENTRANCE FoR 


§ AMAGINATION 
\ ann DRAMA, 


( ENTRANCE FoR a” 7 ENTRANCE FOR 
of ‘. x" Pe 
) mMuUSsIC a eo ee” Sen, DANCE. 
ba, 5 ane «-*" WS eee” 


exrr 


fo 


AUDIENCE 


STAGE DIAGRAM 


SIMPLE SIMON—A PLAYLET 


The following playlet is an example of a new treatment of 
Mother Goose Lore. 

The story centered about “Simple Simon Met A Pieman” 
interprets the hero of the rhyme as a poet rather than a fool. 
A simple presentation of the poet’s maladjustment awakens 
the sympathy and interest of the children. 


THE PLAYERS 


, SIMPLE SIMON 
THE PIEMAN 
Potato VENDER 
A MoTHER 
HER CHILDREN 
Two GIRLS 
ONE Boy 
Two LOVERS 
FARMER JONES 
GOOosE 
Mistress BRowNn 
TWELVE SUNBEAMS 


SIMPLE SIMON 


ScENE: A country road, a tree in foreground. 
Time: Early morning. 
[Varied characters are seen going to the Fair, a MOTHER 
and her children, two Lovers, a POTATO VENDER. 
They enter from right and go off left. SIMPLE SIMON 
enters, left, hands in pockets. He whistles an old tune 
as he shuttles along; sees tree; comes to center, doffs 


cap. | 


SIMPLE SIMON 
Good morning, lovely Tree, is not this a beautiful day? 
And did you see the sunrise? It was more rosy than ever 
before, bringing all the gold in the world with it. What 
is more precious than the gold in the sunrise, lovely Tree? 
[Noise 1s heard off right. | 
Ah! some one comes. 
[FARMER JONEs enters, right, driving a fat GoosE before 
him. | 
Ah, good morning, Farmer Jones. Is not this a beautiful 
day? What a fine fat goose you have there! 


FARMER JONES 
Yes, indeed! Wife and I have fattened her up all the early 
spring, and now I’m taking her to the Fair to sell her for a 


f gold. 
piece of g a 


182 ALLEGORIES 


SIMPLE SIMON 
Gold like the sunrise has? 


FARMER JONES 
Gold—gold like the sunrise has! Simple fool! what can 
you buy with the sunrise? No, I shall sell her for a piece 
of gold to buy a new wheel for my cart, so I can ride and not 
walk. 
SIMPLE SIMON 
Oh, but sunrise gold buys dreams for all the long hours, 
and sets songs tingling on the lips. 


FARMER JONES 
Bah! you should be working in the fields instead of singing 
songs. You are indeed simple! 
[Goes off in a huff, left. ] 


SIMPLE SIMON 
[Looking after him] Gold to buy wheels with—gold to buy 
wheels with! Oh, lovely Tree, I would not give one of my 
songs for a thousand wheels! 
[ Sits down in middle of road. | 
[Mistress Brown enters briskly, right, carrying basket 
of eggs. | | 
Mistress BROWN 
Good morning, Simple Simon, do you not see that the sun 
is up? 
SIMPLE SIMON 
[Jumping up| Oh, Mistress Brown, yes indeed! And isn’t 
it glorious? Do you not love the sun in the early morning? 


SIMPLE SIMON 183 


Mistress BRowN 
Aye, that I do, for I can get me up early and bring these 
eggs to the Fair, and fine eggs they be, lad. [Showing them 
proudly. | 
SIMPLE SIMON 
And will you sell them for a piece of gold to buy wheels with? 


Mistress Brown 

[Laughs] “Gold to buy wheels with?’ What would I with 
wheels? I shall buy a new shawl at the Fair so Farmer Smith 
will be overpleased to see me. [Day-dreaming for an instant | 

Let go my basket, Simple Simon. I must be on my way. 
[Goes off briskly, left. StmpLe Simon stands looking 
after her, puzzled. The cry of a huckster is heard off 

right. | 
PIEMAN 


Pieman’s Song 
Allegretto ; Ps 


I have pies, good pies, Comeand buy, Comeand buy. 


SIMPLE SIMON 
Oh, he says he has pies, and I’m so hungry! 
[Runs off right to meet the PIEMAN. | 


PIEMAN 
[Entering, right, with a tray of pastries| I have buns. 


SIMPLE SIMON 
[Dancing before him.| Oh, buns! 


184 ALLEGORIES 


PIEMAN 
Fresh bread. 


SIMPLE SIMON 
Fresh bread! 


PIEMAN 
Fresh rolls. 


SIMPLE SIMON 
Fresh rolls! 


PIEMAN 
Fresh cake! 
SIMPLE SIMON 
Oh, oh! 
PIEMAN 
And pies! 


SIMPLE SIMON 
Oh, pies! fresh, juicy pies! All brown on the edges? 


PIEMAN 
Aye, a delicate brown. [PIEMAN smiles indulgently. | 


SIMPLE SIMON 
May I see them, Mr. Pieman? 
[ PIEMAN uncovers tray. | 


SIMPLE SIMON 
May I smell them? [Leans forward and sniffs delightedly. | 
Oh, Mr. Pieman, may I have that one? 


PIEMAN 
[Extending palm.| Show me first your penny. 


SIMPLE SIMON | 185 


SIMPLE SIMON 
[Not comprehending.| Penny, penny? Indeed, I have 
not any. 
PIEMAN 
[Angrily.| What! You have no penny, and you stop thus 
to bargain with me! I shall be late—one hour—two hours— 
three hours late, and I might have sold a pie at the Fair by now. 
No penny, indeed! 
SIMPLE SIMON 
But I have songs—one made new this morning out of the 
sun’s gold. I have many songs to fit your lips. 


PIEMAN 
A song for one of my pies! Ha,ha! [Enraged.] Rascal! 
idiot! fool! [Throws StmpLE Simon to the ground.| Be- 
gone! You are indeed simple! A song for one of my pies! 
Ha! ha! 
[PIEMAN goes off, left, singing. | 


PIEMAN’S SONG: 
I have pies, good pies! 
Come and buy! come and buy! 


SIMPLE SIMON 
[On the ground, morally crushed. Lifts head, after a mo- 
ment, and looks sadly at sun.| Gold—gold! how cold you 
make men when you leave the sunrise.’ 
[Falls to his knees. From off stage, right, chanting 1s 
heard. | 


Note: 1This playlet was written in Madame Alberti’s School of 
Expression. 


186 ALLEGORIES 


Sunbeams’ Chant 
-A eA 


i Andante 

¥ At. TS EI rececernes EET CR AD A RA pee EE EE one, FE MEDS i SRS 

", eS (CR ME EE Re” NRE ee ee a nas (Ws ee eS 
WE Wil eee ee 


-_. 
EG eo 
mNP MAES STS Rr NE Sa 


Come, Simp-le Si - mon, Come to your home in the sun - fise. 


[Slowly, from right, enters a procession of TWELVE 
SUNBEAMS, gowned in yellow. They are graded in 
size to suggest the slant of a ray of sunlight. They 
come to center stage, chanting. SIMPLE SIMON 
becomes aware of the figures about him, lifts his head, 
responds to the call of the SUNBEAMS, and follows them 
off, right, to a realm of greater warmth and under- 


standing. | 


COSTUMES 


SIMPLE S1MON: Dark knickerbockers and blouse; collar, 
cuffs, and skull-cap of blue printed cambric. 

THE Pirman: Long dark trousers; large white apron; 
baker’s hat of stiff white muslin. 

Potato VENDER: Brown smock; overalls; hat with broad 
brim; he carries sack of potatoes. 

MotTHER: Princess dress of blue; poke-bonnet; shawl; mitts. 
(These may be cut from black hose.) 

Her CHILDREN : 

Girts, Kate Greenaway gowns of yellow; poke-bonnets ; 
mitts, buckled shoes. 
Boy, Long dark trousers; Eton jacket; white blouse; 

straw hat. 3 

Lovers: Girl, bright red princess gown, gay bonnet. 
Youth, long coat; large hat. 

FARMER JONES: Overalls; white shirt; broad hat. 

Goose: For foundation, one-piece garment of white muslin; 
bands of yellow cloth are wound about legs and feet. 
For goose-bill, cardboard foundation covered with 
yellow cloth and fastened to close-fitting muslin cap. 

Mistress Brown: Full skirt of printed material; white 
blouse ; bonnet ; shawl and mitts. 

TWELve SUNBEAMS: Long clinging gowns of yellow cheese- 


cloth. 
187 


GETTY CENTER LIBRARY 


TMT 


5 00779 9 


a eee TR eg bP ie ee 


RST IT Re 
tebe TTP eo iets taint 


TRITTATeE es Ta ol MEER ea 


oe 
a 
es 


COAT aa! 
at 


pete 


zy, 
iy 

‘ 
Ae 


bye ne Se 
carne 


puke Pay 


spree! 


Spe Re eRe 


me 
o Q 


sh 


Sy 
Bi 


tee 


nee. 


if 
ris % Lies ct cits 
Pee ne a 


a ‘sh 
fa 
it 


ah 


gE 


o 


2 


ne 


halite . 
Aa 


oa 


* 


“4 
it 


} 
i 
i 
{ 


pearett ry. 


Saale 


